Cover First published in in 2017 by Printed and bound in Italy. Thanks to our staff, Organized by Contributing Galleries, Ai Weiwei Skira editore S.p.A. First edition GLASSTRESS maestros, and collaborators Collections, and Institutions Up Yours, 2017 Palazzo Casati Stampa Valter Ballarin Glass via Torino 61 ISBN: 978-88-572-3730-5 2017 Moreno Bardella 47 × 72 × 28 cm 20123 Milano Michela Benetollo Courtesy Ai Weiwei Studio Italy Distributed in USA, Canada, Venice, 11 May > Renzo Benetollo President and Berengo Studio www.skira.net Central & South America by 26 November 2017 Baldovino Caramel Prof. Gherardo Ortalli ARTBOOK | D.A.P. 75 Broad Carina Cheung Editorial Coordination © 2017 Fondazione Berengo Street, Suite 630, New York, Leonardo Cimolin Councilor Main Partner Simona Larghi © 2017 Berengo Studio 1989 NY 10004, USA. GLASSTRESS 2017 Gabriele Costantini Sig.ra Giovanna Palandri Claudio Pavesi © 2017 the authors for their texts curated by Romano De Angeli © 2017 Skira editore Distributed elsewhere in the Dimitri Ozerkov, Stefano Donò Manager Curatorial Texts © The Easton Foundation/ world by Thames and Herwig Kempinger, Fabio Garbo Palazzo Franchetti Adriano Berengo Licensed by VAGA, New York Hudson Ltd., 181A High Adriano Berengo, Alan Horsley Dott. Antonio Metrangolo with the consultancy of Clare Phyllis Davies and SIAE, Rome by SIAE 2017 Holborn, WC1V 7QX, Simona Larghi With the support of Herwig Kempinger © Jake and Dinos Chapman, . Clare Phyllis Davies Roberto Lazzari Dimitri Ozerkov by SIAE 2017 Stefano Lo Duca © Fondazione Lucio Fontana, Vittorio Marzaro Texts by SIAE 2017 Fondazione Berengo / Roberto Mavaracchio Simona Larghi © Ilya & Emilia Kabakov, Istituto Veneto di Scienze, Roberto Salso Claudio Pavesi by SIAE 2017 Lettere ed Arti Andrea Salvagno Michelle Tripodi © Palazzo Franchetti Antonio Scarpa Foundation by SIAE 2017 2847 San Marco Alvise Massimo Schiavon Additional Texts © Man Ray Trust by SIAE 2017 30124 Venice Giacomo Semenzato Laura Bresolin © Josef Albers, Arman, Jean Arp, Marco Signoretto Siggi Hofer Charles Avery, Domenico Silvano Signoretto Markus Schinwald Bianchi, Ernst Billgren, Monica Murano, 13 May > Daniele Stefanutti Studio Vanmechelen Bonvicini, Daniel Buren, Loris 26 November 2017 Michelle Tripodi Cecchini, César, , Marino Zaffalon Translations Tony Cragg, Johan Creten, Wim The Unplayed Notes Factory, Michelle Tripodi Delvoye, Marie–Louise Ekman, a solo exhibition by Loris Video Production Jan Fabre, Graham Fagen, Gréaud, a special project Savino Cancellara Editing Kendell Geers, Loris Gréaud, of GLASSTRESS 2017 Emily Ligniti Charlotte Gyllenhammar, Richard curated by With the help of Hamilton, Xenia Hausner, Iyvone Nicolas Bourriaud Assicurazioni Generali Design and Layout Khoo, Kimiko Yoshida, Joseph Fratelli Barbini Main Media Group Partners Tomomot Kosuth, Jannis Kounellis, Brigitte Berengo Exhibition Space Roberto Bortolotto Kowanz, Raimund Kummer, Hew Campiello della Pescheria Consorzio Promovetro Photo Credits Locke, Aldo Mondino, Vik Muniz, 30141 Murano, Venice Daniele Donà Francesco Allegretto Tim Noble & Sue Webster, Edilcostruzioni Nardo unless otherwise noted Orlan, Jorge Orta, Lucy Orta, Giocondo And Jean-Michel Othoniel, Mimmo A project by Elettra Snc di Visman With the patronage of Charles Avery, p. 49 Paladino, Giuseppe Penone, Adriano Berengo Andrea and Rioda Andrea Ugo Carmeni, pp. 182, 183, Anton Pevsner, Jaume Plensa, Gallo Pubblicità 184-185 (center) Maria Roosen, Markus Promoted by Gambaro srl Eduardo Chacon, pp. 236, 237 Schinwald, Thomas Schütte, Fondazione Berengo Gruppo Fallani Fotografia Gasull, p. 153 Mike & Doug Starn, Pascale Massimo Lunardon Nicola Gnesi, pp. 132-133 Marthine Tayou, , Massimiliano Luzzi Oliver Haas, pp. 100, 101, 104, Bernar Venet, Erwin Wurm, Exhibition Management Marconati Vetri 120, 121, 164, 165, 184 and 185 Chen Zhen by SIAE 2017 Comm. Pierluigi Morasco (left and right), 202, 203 President of Berengo Studio Broker di Assicurazioni Lars Ekdahl, © Millesgården, All rights reserved under 1989 and Fondazione Tipografia Print Cat pp. 230, 231 international copyright Berengo Ristorante Tivoli Xenia Hausner, p. 105 conventions. Adriano Berengo Silvano Rubino Eva Heyd, p. 87 No part of this book may be Falegnameria Santini Carsten Janssen, p. 86 reproduced or utilized in any General Management Andrea e Paolo Gints Malderis, pp. 224, 225 form or by any means, electronic Jane Rushton Liam Scully Farzad Owrang, pp. 228, 229 or mechanical, including Valle Romano Di Valle Martin Polak, pp. 123-129 photocopying, recording, or any General Coordination Alessio e C. Snc Ivan Put, p. 195 information storage and retrieval Marco Berengo Enrico Zardinoni / La Fucina Sfeir-Semler Gallery, p. 17 system, without permission in Anita Braghetta del Vetro srl Karolina Sobel, pp. 28-31, 56, 57 writing from the publisher Laura Bresolin Studio Sabine Wiedenhofer, p. 15 Michelle Tripodi, pp. 154, 155 Press Office Special thanks to all of the , pp. 192, 196 Claudio Pavesi artists for the enthusiasm Kris Verve, p. 197 they brought to this project. David Williams, p. 69 PR and Media Consultant reiber + partners CONTENTS

6 22 114 219 Why Glasstress? AI WEIWEI CAMERON JAMIE GLASSTRESS ANTHOLOGY Adriano Berengo Glasstress 32 118 Glasstress 2011 10 HALIM AL-KARIM BRIGITTE KOWANZ Glasstress Riga The First Anniversary of Glasstress Glasstress Stockholm 36 122 Dimitri Ozerkov Glasstress New York MONIRA AL QADIRI KAREN LAMONTE Glasstress Beirut 14 42 134 Glasstress 2013 White Light / White Heat You Break It, You Buy It CHARLES AVERY PAUL MCCARTHY Glasstress 2015 Gotika Herwig Kempinger Glasstress Boca Raton 50 138 16 DIKE BLAIR HAROON MIRZA AND GAIA FUGAZZA 238 Middle East Glass: A Play in Five Acts The Stress behind the Glass Clare Phyllis Davies 52 142 MONICA BONVICINI VIK MUNIZ 240 List of Works 58 148 JAKE & DINOS CHAPMAN TONY OURSLER

62 152 TONY CRAGG JAUME PLENSA

68 156 ERIN DICKSON LAURE PROUVOST

72 166 DR LAKRA RANDOM INTERNATIONAL

76 170 JAN FABRE UGO RONDINONE

80 174 GRAHAM FAGEN MARKUS SCHINWALD

84 176 JOSEPHA GASCH-MUCHE THOMAS SCHÜTTE

88 180 ABDULNASSER GHAREM SARAH SZE

92 186 LORIS GRÉAUD KOEN VANMECHELEN

102 198 XENIA HAUSNER SABINE WIEDENHOFER

106 204 SIGGI HOFER ERWIN WURM

110 210 SHIRAZEH HOUSHIARY DUSTIN YELLIN 6 Adriano Berengo WHY GLASSTRESS? maestros. At first Ijustinvited those from the visualarts,primarily around the world andfrom every discipline to collaborate withour in hismostrecent projects. ideas onbiocultural diversity, aconceptthathe haspursued even Cosmopolitan Chicken Project, the chicken asametaphorfor his venture into the world. Its success led Vanmechelen to develop the Walking Egg,awork representing the fragility ofhumanbeingswho We practically grew together. Vanmechelen’s first project was The tireless Belgianartistwho Ihave worked withfor avery longtime. the foremost pop artistinAustria.Finally, Koen Vanmechelen, a zzo Pretorio in Certaldo in 1992; and then Kiki Kogelnik, considered intellectual with whom we held an exhibition in the beautiful Pala- over the world. One of the first was MartinBradley, apainterand heim’s footsteps andcollaborated withacclaimedartistsfrom all great works ofartinglass. bringing togethercontemporary artistsandglassblowers to create Studio, aglassfurnace onthe islandofMurano withthe goalof exhibiting duringthe first editionofGlasstress. three spatialconceptsinglass,one ofwhichIhadthe privilege of in experimenting with glass, including Lucio Fontana, who created many artistsdedicatedto Spatialismfound theirownnatural place spect to thismedium.Amongthe Italianswho hadtheirsupport, with artistslike JeanArp andPablo Picasso, addingnewfound re- and herimportance in the art world. She andCostantiniworked laboratory “La FucinadegliAngeli.” AsaVenetian, IknewPeggy that renowned French writerJeanCocteaurenamed Costantini’s that had limited glass to its traditional decorative role, enough so collaboration of the great Peggy Guggenheim, broke the barriers tunity was made possible thanksto Egidio Costantiniwho, withthe tant artistswere able to approach thismaterial.InItaly, thisoppor glass. Some mayrecall the glassrevival inthe 1950s,whenimpor porary artandglassexhibition atthe Venice ArtBiennale. pelled me to take onthe monumentaltaskoforganizing acontem- I have oftenbeenasked why IstartedGlasstress, andwhatcom- From the 1990sto today, Ihave invited over 300artistsfrom Over the pastthirtyyears, Ihave followed inPeggy Guggen- So, Ilearnedfrom these examples. In1989,Ifounded Berengo The answer maylie inmy Venetian heritage andmy career in - - foremost glassmuseum inthe world. in the collectionofthe CorningMuseum ofGlassinNewYork, the very special work has been featured in other exhibitions and is now to the floorwhere black ravens fed onitsscattered shards. This red Murano chandelier was hoisted to the ceiling and then crashed by Javier Pérez, Carroña . Inourfurnace onMurano, Pérez’s blood- Glasstress 2011gave birthto the wonderful andnowfamous work Demetrio Paparoni, withthe contributionofBonnie Clearwater. ter ofwell-known curators: LidewijEdelkoort, Peter Noever, and its surprisingdebutonthe artscene. Andthe dance went on. from the materialitselfto the ideasexpressed inglass.Glassmade ment for me butatotalshock to the artworld asitshiftedattention faces ofglass.Glasstress Michel Othoniel,JosephKosuth, andFred Wilsonbecame the new Peabody, Marya Kazoun, KikiSmith,JanFabre, Tony Cragg, Jean- in ourfurnace specifically for this exhibition, were included.Anne past butmy visionfor the future. So newworks, mostlycreated associated withglass.Iwanted the artworld to see notjustthe Giuseppe Penone, andRobert Rauschenberg, namesnotnormally Jannis Kounellis, ManRay, César, Louise Bourgeois, DanielBuren, because the works were by famous artists suchasJosefAlbers, from the last century to the present. It was surprising to our visitors museums worldwide to present ahistoricalperspective ofglass er Mentasti,we borrowed extraordinary works from collectors and forty years. Andso Glasstress in the cityofglass,afterbeingabsentfor almost opportunity to bring glass back to the Biennale, not beenpresent since 1972.Itwas the perfect ongoing for over 100 years but where glass had Biennale, aninternationalevent thathasbeen floor, the piano nobile,duringthe 53.Venice Art tunity to mount an exhibition on the statelyfirst ever since. Inearly2009,Iwas given the oppor first Palazzo Franchetti, provided the impetusfor the teenth-century palace onthe Grand Canal,the these stunningworks to the artworld. go Studio thatcreated the art.Iwanted to show the great abilityofthe glassblowers atBeren- combination oftheirconceptualapproach with possibilities ofthisincredible material.Itwas the experience to watch these artistsexplore the before comingto Murano. Itwas anamazing had never steppedfoot inside aglassfurnace had never usedglassasamediumandmany Williams, to work with us in glass. In fact, most designers, andeven musicians,suchasPharrell transversal, Ibeganto lookto architects, fashion sculptors andpainters. Butrealizing creativity is The next biennale, Glasstress 2011,was organized by aros- Withthe co-curators Laura MattioliRossi andRosa Barovi - In anoddlycoincidentalway, ahistoric nine- Glasstress andhasbeenitsofficialhome 2009 was arichandsatisfying experi- was born. Why Glasstress? -

Courtesy the artist and Berengo Studio Venice, 1998 installation view, SanStae Church, variable dimensions Heads, 1994/1996 KIKI KOGELNIK 7 8 Courtesy the artist and Berengo Studio variable dimensions Quantum Leap, 2017 VIK MUNIZ the BocaRaton MuseumofArtinFloridathisyear. lection; the MuseumofArtsandDesign(MAD)inNewYork; and Exhibition Center;the London College ofFashion; the Wallace Col- Birža” inRiga;the Millesgården MuseuminStockholm;the Beirut hosted by institutions around the world: the Makslas Muzejs “Riga during the Crusadesfrom anArab perspective. Crusades trilogy, whichpresents the ransacking ofConstantinople acters in The Secrets of Karbala, the final filmof Shawky’s 350 glassmarionettesinourfurnace. The marionetteswere char Egyptian artistandwinnerofthe first Mario MerzPrize, who made glass, allwithaGothic theme. One ofourstars was Wael Shawky, an of medieval glassandrelics withnewlycommissionedartworks in gravings onAbdulnasser Gharem’s stamp, AiWeiwei’s blownglass erkov, HerwigKempinger, andClare Phyllis Davies.The Arabic en- and precious material,guidedby the watchful eye ofDimitriOz artists andhowthey changedthe world perception ofsuchanold art expression—how it has influenced some of the contemporary cerning the development ofglassasa medium for contemporary Franchetti duringthe lastVenice Architecture Biennale. of the world-famous architect, the late Zaha Hadid,atthe Palazzo tion hadthe honorto sponsorandpresent atribute retrospective works created in our studio over the pastthirtyyears. The founda- the Dordrechts MuseuminHolland featuring over eightyglass art- tor Tony Cragg atThe State Hermitage MuseumandGlassfever at one Berengo sponsored asolo showofthe renowned Britishsculp- with otherartinstitutionsto present exhibitions. In 2016,Fondazi- the glasscommunity’s efforts andartworks andalso to collaborate I founded Fondazione Berengo as a cultural institution to preserve tural movement inthe world ofglass. Inrecognition ofthis,in2014, After these successes,the showbecame atraveling exhibition Today, GLASSTRESS 2017 focuses on“the state ofarts,”- con Glasstress hasbecome more thananexhibition—it isacul- Glasstress 2017 torical works from the Hermitage’s collection co-curator, Dr. Dimitri Ozerkov, combined his- Saint Petersburg to create Glasstress Gotika . Its nership with The State Hermitage Museum in Collishaw, GavinTurk, andTracey Emin. Chalayan, andmany ofthe YBAs,suchasMat Arad, Alice Anderson, RinaBanerjee, Hussein signers, andfashion innovators, including Ron included majorestablishedvisualartists,de- tigious Wallace Collection in London. The show the London College ofFashion andthe pres- White Heat , was presented inpartnership with the home ofourpermanentcollection. fiti bearwitnessto itsrichpast.Ithasbecome stained walls and windows, and the workers’ graf used for decades.The antique kilns,the smoke- venue onMurano inafurnace thathasnotbeen The year 2015sawanotherexciting part- In 2013,Glasstress, subtitledWhite Light/ That same year I opened a second Glasstress Cabaret - - -

show the same museuminStockholminaugurated the eponymous solo for thiseditionofGlasstress was displayed. Afew monthslater, ceramic garden gnomesthatthe artistwanted to recreate inglass at the ModernaMuseetinStockholm(2017),where the group of ly, Iwould like to mentionThomasSchütte’s recent solo exhibition emerge from the white background of the gallery walls. Additional- Cragg’s shining crystal at London’s (2016) gio in the halls of the Borghese Gallery in Rome (2015). Just as Tony mirrors ofMatCollishawalongside the masterpiecesofCaravag- mentation, and innovation. Amongmy favorite examples are the makes me proud because ittrulyproves thatglassisart,experi - brought this“Glasstress legacy” into theirownexhibitions. This braces agrowing audience ofnewandoldenthusiasts. demonstrate thatglassisinfact avalid artistic mediumandem- Glasstress isbothapointofarrival anddeparture, asitisable to the craftsmen have no limits except those imposedby the mind. today, Iamconvinced thatthe artistic inventiveness andskillof my first experiments andwhatourmasters are capable ofdoing ers ofthismedium,parallel to contemporary art.IfIthinkbackon sunlight, shadowsandreflections incontinuousmotion. that they deserve to be seeninperson, withvarying degrees of tures ondisplayare allofsuchdifferent techniquesandshapes show howmuchwe have grown inthe lasttenyears. The sculp- Rondinone’s casthorses are onlysome ofthe exhibited works that chandelier, the sharp fragments of the talented Sarah Sze and Ugo to write newchapters inthe histories ofbothglassandart. Finally, because Glasstress gives usallinthe glassworld the chance Murano andthe cityofVenice. Because to use theirskillsinthisnewera ofglass. Because mentation withanexciting newmedium. Because curators, andcritics“think”inglass. Because alongside the traditions ofglassmaking. Because So, the questionremains: Why Glasstress? that ofgreat contemporary art. ice. All of these exhibitions have brought a piece of my world into Bone 1977–2017atthe SanGregorio Abbey, bothinVen- the rooms ofthe Palazzo Cini,andJanFabre’s exhibition Glassand Finally, there are QuantumLeap, the installationby VikMunizin al timesandfeatured many works thatwere made inourfurnace. Many ofthe artistswho have exhibited over the years have After all these years, I believe Iam one ofthe greatest promot- Marie-Louise Ekman,who hascollaborated withussever Glasstress showsthatcontemporary ideashave aplace Glasstress offers artists limitless possibilities for experi- Glasstress Glasstress gives glassmasters anewpotentialandway Glasstress ismy tribute andthankyou to the islandof provides anewapproach thatmakes artists, Why Glasstress?

- 9 10 Dimitri Ozerkov OF GLASSTRESS ANNIVERSARY THE FIRST the traditional venue ofthe event. canals, water buses,andonthe mainfacade ofPalazzo Franchetti, ture, specifically cast for the exhibition, hungallaround Venetian The ambitiousblackposterpresenting AiWeiwei’s newglasssculp- particular theme orsubjectthisyear, aswas the case inthe past. Glasstress celebrates itsfiftheditionin Venice in2017.There isno tion titled ,China,and former Soviet countries.Aprevious edi- sented in the form of a world-traveling biennale, across , the Rauschenberg, andLucio Fontana, allinglass. in Palazzo Franchetti includedworks by Louise Bourgeois, Robert peal: he wanted to shockthe artworld. The first Venice exhibition So he didthe same to the glassworld. Inaway, he repeated herap- who wanted to bringcrucialcutting-edge creators to the Laguna. orative functions.He sayshe was inspired by Peggy Guggenheim “applied arts” where itfunctionsasamaterialandhaspurely dec - idea was to broaden the fieldofglassfrom beingjustatiny partof corresponding to slogansofthe current biennale year. Berengo’s by guestscholars togetherwith Berengo. Itoftenhasasubtitle crafted by the best artists from allcontinents. A project curated it isno longerjustaskillfulwork butadesign-inspired artwork losophy ofcreating contemporary Murano glass.For inGlasstress, well as constant glassmaking processes and the whole new phi- go in 2009. It is an exhibition to coincide with artistic biennales as speak.” Itwas introduced to Venice by glassactivistAdriano Beren- Glasstress Since 2009Glasstress hasbecome afamous brand name pre - Gotika sounds like a was a collateral event organized with the State strange newword of Orwellian “new - ever, no stones were suitable for supporting theircauldrons, they that they scattered alongthe shore to prepare ameal.Since, how Candebia amidthe lower slopesofMountCarmel inPhoeniciaand longing to some traders innatural sodacame uponaswamp called make itartificially. According to Pliny, thology, obsidian isknownasSataniexung, meaning“Satan’s nail.” sembled adevilish smile around the mouth.While inArmenianmy too (mennever hadthem)canbe translated as“obsidian cut.” Itre- make sacral face tattoos,anchi-piri.ThisAinutermfor female tat- liest known population of Japan and Kamchatka, used obsidian to were discovered by modernethnography. The Ainupeople, the ear the godsthemselves castuponthe .Traces ofsuchbeliefs supreme forces. Early glasswas believed to have beencreated by to the Atlantic” (Pliny, Nat.Hist.36,67). within the territoryofthe Samnites,andinSpainnearthe shores of to Xenocrates who records that“obsidian isfound inIndia,Italy because ofitssimilarity to glass, isofanearlierdate,” andrefers that the originofthe stone, whichisnowadays misrepresented cult ofthe sun-godatHeliopolis.“Thisstatue,” saysPliny, “proves Emperor Tiberiusrestored anobsidianstatue ofMenelausto the ed four elephants of obsidian in the temple of Concord while the are frequently made ofitandremembering thatAugustusdedicat- it asaluxurymaterial.Pliny dealswithitasglass,statingthatgems ten evidence ofobsidiandatingfrom amuchlaterperiodrefers to ture itinto sharp bladesready to make knives orarrowheads. Writ- ian, or culture. Primitive menhuntedandfought withtoolsmade ofobsid- made creation, natural glassisthe oldest materialusedby human well asto the very originsofglassmakinginthe Laguna. an artwork bringsGlasstress artistsbackto self-consciousness as magic related to fire andthe transformation ofelements. of itstransparency andfragility butbecause ofitsprehistorical Berengo saysinaninterview. Glassattracts artistsnotonlybecause with somethingmeaningfulbecause itismade of glass,” asAdriano ty ofglass,also the limitationofglass,andthey have to come up the mechanism ofglass,andthe spiritofglass,andthe possibili- for artists. It is not just all glass now. Artists are invited “to French artistLoris Gréaud. Murano furnace hostsThe Unplayed NotesFactory, asolo show by plays awork by BelgianartistKoen Vanmechelen. Instead,the old Venice’s mostvisitedgarden, nearthe Accademiabridge, nowdis- cided to come backto the Glasstress family andcreate newworks. edition atPalazzo Franchetti. Many artistsfrom previous years de- Boca Raton. also took place inNewYork, London, Stockholm,Riga,Beirut,and Hermitage MuseumofSt.Petersburg. SpecialGlasstress

prehistoric menlinkingvolcanic glasscreated by natural fire to Use of natural glass was followed by the discovery of how to Mention of obsidian god statues is important as it refers Fire magic refers to obsidian. While modern glass is a hand- Glasstress isnotaboutswitchingfrom one mediumto another There are alotofworld-famous namesinthe 2017anniversary lapis obsidianus,found volcanic glass.One couldeasilyfrac- The FirstAnniversaryofGlasstress there isastorythat a ship be - Creating editions

learn

- - - 11 12 from the Glasstress Aldrevandin from Murano (1331).Now, they are followed by names are found indocuments:Domenico (982),Pietro Flabianico (1090), Some of the names of medieval Venice glass maestros, or the HolySpiritwithouthavingher virginity destroyed. glass withoutdestroying itso too didMary by describing a transparent vessel (fiola):justas Christian teachingofthe conception windows, orthrough incredibly complicatedvessel forms. divine lightinside churches through multicolored stainedglass Murano oftenserved asasacral metaphoric materialmediating state ofplay. Artificialglasscreated by medieval maestros from history of Murano glassmaking and to six milesofthe seashore between CumaandLiterno.” too, awhite sandwhichforms inthe River Volturno isfound along This was the oldmethodofproducing glass.Now, however, inItaly, apart from otherachievements, glassmirrors were invented there. and quarrysand.Sidonwas once famous for itsglassworks, since, many kindscame to be burntwiththe meltand,thenagain,shells to itself moltenglassno lessthaniron. Similarly, lustrous stonesof duce the magnetstone also, since there isabeliefthatitattracts longer contentwithmixingjustsodaandsand:“He beganto intro- this area alone, andcontinuedon many centuries,saysPliny, the production ofglassdependedon said, was the originofglass” “a strange translucent liquidflowed forth instreams; andthis,itis heated andwere completelymingledwiththe sandonthe beach rested themonlumpsofsodafrom theircargo. Whenthese became Ars Vitraria Experimentalis,the crucialclassical treatise ofglass - described through aconstantdialogue withalchemy, includingthe forces. The historyofpremodern andmodernglassmakingcanbe cial glassmakingseems to have never severed itstieswithheavenly edge thatwas never accessible to the public. Because even artifi- academies, glasswork usedto belongto the sphere ofreal knowl- sciences, includingchemistryandphysics. Unlessopenlystudiedin are almostnon-existent. For glasswork haslotsto do withnatural post-medium, and museum-oriented age where material frontiers appear anddisappear. Itisparticularly importantintoday’s virtual, learn about glass and discover the ways, elements, and forms that market wants him to do. world. What an artist would prefer to do is not always what the Venice with its massive glass production and the contemporary art Hist. 36,66).Thissoundsasifitwere applicable to bothmedieval as copper, silver, andgoldwould otherwise be lowered” was completelydestroyed for fear thatthe value ofmetalssuch blending glassso asto render itflexible. Butthe artist’s workshop a storythatinthe reign ofTiberiusthere was invented amethodof seems to describe the appearance of pure artistic glass: “There is This famous storyisimportantto applyto the centuries-old A privilege ofGlasstress artistsisthe possibilityto thoroughly Glasstress 2017 editions andcatalogues. (Pliny, Nat.Hist.36,65).Andyet for man’s inventive skill that was no of Jesus Glasstress that is its current conceive Jesusthrough was oftenexplained Once again,Pliny light penetrates (Pliny, Nat. fiolarios, The ities, andthe humanwillto create. porary creation asthe manifestation ofnatural humanrights,abil- Glasstress offers different views to the very - process ofcontem that itseemsto respond to allmodernchallengesinlife andart. Contemporary neweclecticismisso muchinvogue inartnow where people meetinorder to attentively looktowards the future. fragility ofhumansoulsallover the world—a “humanrightstress” ing for humanity. Single glassprojects nowalso dealwiththe and Democratisation. Itisaworld network oforganizations fight- ported by the European Inter-University Centerfor HumanRights two worlds—that ofartistic ideasandthatofreal glassmaterials. rary platform thatserves to mediate communicationbetween the inspiration. The Glasstress artist idea.For some itispure practical knowledge, for others, divine help. Itisnowpossible to fullytrace the embodimentofanoriginal every day. Some blowandbendglassthemselves withmaestros to ter into allthe detailsofthe process, observingthe glassmaestros artists justleave sketches andlaterapprove the works. Some en- and experience allthe stepsofthe glassmakingprocess. Some appears outofnowhere, asiffire hadbrought iton. from the materialitisshapedfrom. The meaning, ly becomesanobject,somethingthathasitsownmeaningapart controlled only by the glass master. A created glass piece sudden- of mysterious origin.Similarly, hotglassisamassinchaotic motion spirit isamystical substance inside us,anardent transparent fire thought ofasfire blowninto the humanbody. InChristianity, the According to Greek philosophers, the humanspirithasoftenbeen ture. Allglasssomehowrelates to fire, justlike the humanspirit. “supreme” nature ofglass, stemmingfrom itsinitialvolcanic na- tory thatone couldnever understand andrepeat infull. based histreatise oncomplicatedexperiments inhissecret labora - was the sonofan alchemist, and in the late seventeenth centuryhe making written by Johann Kunckel and published in 1689. Kunckel So it is no surprise thatsince 2017 Today, a Such constantsafeguarding probably originatedfrom the Glasstress artist would come to the Murano furnace project manifests itselfasacontempo- The FirstAnniversaryofGlasstress Glasstress has been sup-

idea, mystically 13 14 Herwig Kempinger Herwig YOU BUY IT YOU BREAK IT, And togetherwithlightitcreates magic. at ourselves inadifferent way. It even allows usto see the universe andthusmakes uslookback age. It replaced water andmetalasamirror to love andto hate ourim- against allthe elements. It isstillastoundingthatathinsheetofalmost nothingprotects ­addition. Subtractive processes are more common,butglassdemands Artists don’t work withitoftendue to the complexity ofitshandling. made people richinamore thanquestionable way. It was for alongtime usedinthe form ofbeadsasa currency and of porcelain. The secret ofitsproduction was guarded almost asheavilythat Every colorandtexture one canthinkofisapossible reality. It gives liquidsashape inthe form ofaglass. as much,andthusmakes transparency aheavypresence. In itsclearstate itisasinvisible asthinair, yet itweighs 2,083times In turniftouchedthe wrong way itshatters into athousandpieces. expertise. persuaded into almostany shape by those who have the arcane of art. It has no form of itsownbut it is so malleable that it can be Yes, glassisastrange materialandnotvery commoninthe field can be broken.” glass you thinkoftwo things:howbeautifulitisandeasily nagerie, once wrote: Tennessee Williams,from the production notesto The GlassMe- “When you lookatapiece ofdelicatelyspun You BreakIt,BuyIt Courtesy the artist and Berengo Studio 9.5 Fat Bus,2017 ERWIN Courtesy the artistandBerengo Studio 23.5 ×1012cm(onthe right) 34 ×12.5 ×13(onthe left), 25 CPW.NYC, 2017 SABINE WIEDENHOFER × 18

× WURM

10 cm 15 16 Clare PhyllisDavies A PLAY INFIVEACTS MIDDLE EASTGLASS: marriages.” sance Venice, pilgrim flasks were often made in pairs to celebrate foliate andfloral patterns.Inboththe Islamic world and Renais - flasks drew onIslamic modelsnot only for theirshape butalso for “Known inVenice asinghistere fracade (‘flat-sidedbottles’), pilgrim Accession Number: 1975.1.1167 Credit Line: Robert Lehman Collection,1975 Classification: Glass Dimensions: h. 31.4cm Blown, enameled,gilt. Medium: Colorless (slightlytan)non-leadglass. Culture: Italian (Venice) Date: ca. 1500–1525 Italian, Venetian,Artist: earlysixteenthcentury Pilgrim flask The Metropolitan MuseumofArt,NewYork down like the credits ofamovie. The text reads: screen followed by white text againstagray background scrolling audience. Animage ofanornamentedglassvessel appears onthe a light flickers before sending a beam out above the heads of the A screen descendsbefore the stage. From the backofthe theatre Act One:Inghistere fracade recedes. tionship with pieces of the world before us even as its own visibility descriptors. Actingtransitively, works inglassconjugate arela- sive orpaperthin:the materialityofglassresists asingularsetof Transparent ormirrored, multihuedorclear, brittle ormolten,mas- A Preamble Monofilament stringisusedto manipulate the marionette. semi-translucent pants are also trimmed in white lace at the waist. and fastened withwhite stringaround the waist. Apairofwhite, costumed in a velvety, gold-colored doublet trimmed in white lace features includingfour hornsprotruding from atoothedbeak.Itis pomorphic limbs and body are topped by a headwithfantastical bows, andknees.Itseyelids canbe openedandclosed.Anthro - son ofSalahElDin.Itisarticulatedatthe jaw, neck,shoulders, el- This honey-colored glassmarionette isidentifiedasAl Zahir Ghazi, Act Two: Wael Shawky between 136–137AH/753-755AD.” specimen ofluster-painted glassinthe Muslimworld, asitisdated in the hand.The voice picksup again:“Thisisprobably the oldest from the stage rafters: itisasmallgoblet,shapedto fitcomfortably among the mostheavilyeffected. Anilluminatedobjectdescends on the opposite side of the street. Priceless works in glass were been heavilydamagedinabomb blasttargeting apolice station cheap loudspeaker system:The MuseumofIslamic Art,itsays,has built atthe turnofthe nineteenthcentury. Avoice comesover a clear, the audience glimpses the facade of a neo-Mamluk building The scene beginswithaloudexplosion. Asthe smoke startsto Act Three: The MuseumofIslamic Cairo Art, partment informed the designofthe marionettesinthisfilm. the Metropolitan Museum’s ArtsofAfrica, Asia,andOceaniaDe- song, andelectronic music. Central African sculptures ondisplayin The work includesmusic from the Gulfregion, Iraqi ShiaRadoud Sunni handsisone ofthe significant plotlinesdealtwithinthe film. Crusades (1189–1192).The transfer ofpower inEgyptfrom Shiato and issetinthe periodbetween the Second(1145–1149)andThird follows the historyofSalaheddin,al-Zenki’s ambassadorto Egypt, Kunstsammlung Nordrhein-Westfalen andshotinDüsseldorf. It by Studio Venezia (formerly Fortuny). made by Francesca Louise inMurano usingfabrics manufactured da Camara andOlivierCoquillat.Costumeswere designedand independently before beingassembledinto awhole by Mafalda the Murano team.Elementsofthe marionetteswere fashioned marionettes featured inThe Path to Cairo (2012,58mins.)advised maquettes. Pierre Architta, who hadhelpedcreate the ceramic ing sketches produced by Shawky, and,insome instances,clay process involved two “masters” andanumberofassistantsus- go inMurano, under the supervision ofthe artist.The production Berengo Studio in the glass workshop of the Fondazione Beren- marionettes that appear in the video were created by the Adriano ( Amin Maalouf’s al-Hurub al-Salibiyya Kamma Raaha al-‘Arab lish subtitles)made usingmarionettesandstructured around Crusades trilogy(2010–2014,Arabic-language dialogue withEng- bala The The marionette appears inthe HDvideo The Secrets ofKar The Secrets ofKarbala was produced by Wael Shawkyand (2014, ca.90mins.):the third andfinal work inthe Cabaret Crusades through Arab Eyes, 1983).The case ofsome 300 Middle EastGlass:APlayinFiveActs - Courtesy the artist / variable dimensions (installation) 50 The Secrets ofKarbala, 2014 Cabaret Crusades: WAEL SHAWKY ×

15 cmeachmarionette 17 18 Courtesy the artist and Berengo Studio 7 elements,variable dimensions Amorphous SolidGhost,2017 MONIRA ALQADIRI Museum ofArt,NewYork Courtesy The Metropolitan 31.4 Pilgrim Flask,ca.1500/1525 Italian, Venetian

cm (height) rored mosaic walls. a square, ahexagon. They repeat endlessly around herinthe mir an beginsto bendherlimbsinto strange, angular forms: atriangle, the ceilingandspewssequinsof lightinto the audience. The wom- of the woman. Amirrored disco balldescendsfrom the centerof cracked into athousandtiny fragments. Eachpiece reflects asliver them alltogether, anditmakes a beautifulreflection.” an inch,triangular, square, hexagonal, alldifferent shapes.They put design. They usedvery smallpieces,sometimeshalfaninchby half tects usedthe shards asthey usedtile andplaster inthe geometric the SilkRoad, andrather thanwaste them,the craftsmen archi- trapped inside the palace. But the mirrors would get broken along themselves, to see howbeautifulthey were, andalso to feel free, not to stayinside the palace. The mirrors were for the women to see tion oftheir rooms; they would have twenty orthirtywives who had an kings wanted large mirrors to be installed during the construc- hair walks onandbeginsto recite: on three sidesandonthe ceiling.Astrikingyoung woman withdark Imagine aplaythattakes place onastage surrounded by mirrors Act Four: MonirFarmanfarmaian in space andvision:adisplacementthrough reflection. One explanation isthatithasproduced itsownschismorwound healing, appearinginsteadinsistentlyfractured andirreparable. remains immune to these gestures ofimperfect restoration and stitch-like wooden staples.The great mirror ofthe world, however, stretched canvas; andsealsthe cracks inwooden beamswith es togetherpiecesofaceramic plate;sewscicatricesinto raw, At thispoint,she pausesandlooksaround. The mirrors have “During the Safavid period,afew hundred years ago, the Irani- Glasstress 2017 The mansitsdownand sets to work. He stitch- bodies ofclassicalsculpture; amissinglimb. blown-in faces ofwar veterans; the mutilated taking offinboats for newlands;others, the the broken mirror. Some ofthemshowpeople and ghostlyimagesappearonthe surface of Mirror duMonde,” he tellsthe audience. Impure like acarpetofbroken glass.“ThisisLe Grand out across the flooruntilthey form whatlooks the glass into apile and spreads the fragments says: “Thisisthe Arab Spring.” Thenhe sweeps until allthe glassliesonthe floor. He stopsand peats thisactofvandalism againand glass shatters. The noise isdeafening. He re- off. He picksitup andtriesagain.Thistime the He hurls the rock atthe glassbutitbounces empty. Amanappears witharock inhishand. ium-size glasscontainers. The vitrines are spindly wooden legstoppedwithdeep, aquar now are rows ofold,museum-style vitrines:tall, The stage sethas been replaced. Whatwe see A Dance Interlude:Kader Attia - - , turningthe surrounding sandinto petalsofglass. terpieces andover the stage. Itisthe soundofafire burninginthe sound seemsto engulfthe theatre, rolling outofthe drillbitcen- malls, roadways, war, andwater. Soonenough,however, aroaring bian Gulf, crude, development, wells, sovereignty, stakes, shopping purple miasmaofvoices andfloatabove the audience:the Ara- topic of the conversation, but hasty words occasionally escape the dragged up from the bottomofthe sea.It’s difficult to make outthe oil drillbitheadsblowninpearlescentglassasifthey, too, hadbeen platters. Amidstthe half-eaten creatures sitaseriesofminiature forth from silver tureens, pinksalmonfleshandcrab shellspiledon gathered. They are devouring afeast ofseafood: lobsters peering There isabanquettable around whichpowerful oilexecutives are Act Five: Monira AlQadiri Middle EastGlass:APlayinFiveActs

The End 19 GLASSTRESS 2017 22 L B Berlin, , China 1957 famous artist.Over the years, hisarthasbecome increasingly Security cameras, Twitterbirds, and indignantlyraised middle symbols are echoedinthe fallen Twitterbird andUp Yoursto contemporary artistbutIam always working withtradition.” days; thisexperience profoundly influenceshismost recent fingers comprise the majorityofthe imageryinhiscolossal activism, AiWeiwei isgloballyinfluentialandChina’s most projects. At the Palazzo Franchetti, Aicombines hisstrong tied to artistic language withancientMurano techniques:“Iama to humanrightsinjustices.Through Twitter, hisblog,and events especially, butnotonly, inChina,whichare often other socialmedia,Aireports significantsocio-political at the Beijingairportandheldinasecret locationfor 81 hidden from the public. OnApril3,2011he was arrested Murano glassBlossomChandelier . These provocative As renowned for hisconceptualartasfor hispolitical create apowerful statement againstcensorship. political andsocialissues,withaspecialsensitivity WEIWEI N 39°54' 26"—E116° 23'50" Courtesy AiWeiwei Studio and Berengo Studio 47 2017 /detail AI × Up Yours 72 × 28cm 25 250 cm diameter × Blossom Chandelier 2017 400 Studio Courtesy Ai Weiwei Studio and Berengo Ai Weiwei Ai

Glasstress 2017 Glasstress 24 27 Ai Weiwei Ai Glasstress 2017 Glasstress 250 cm diameter ×

47 × 72 × 28 cm 2017 Studio Courtesy Ai Weiwei Studio and Berengo Up Yours Up 400 2017 / detail Studio Courtesy Ai Weiwei Studio and Berengo Blossom Chandelier 26 29 Ai Weiwei Ai

Glasstress 2017 Glasstress 28 31 Ai Weiwei Ai

Glasstress 2017 Glasstress 30 32 L B Dubai, UnitedArab Emirates Denver, Colorado, USA Najaf, Iraq 1963 deliberately dissolved contours, colors develop incoolshades Venetian artby presenting anenormousmirrored photograph individual’s identity butinsteadreflect otheraspects,suchas in ayellow frame engraved inthe Murano tradition. Thiswork where Al-Karim combineshisintense poeticswithtraditional Iraqi artistHalimAl-Karim recounts hispersonal experiences an awareness of surrounding reality. Thisoccurs inDust12b, become the principalmeansto reflect onhowanindividual fits perfectly withinhisoeuvre oflayered imagesthathave figures. Hisportraits andself-portraits do not represent an relates to the surrounding world, givingnewlife to hiswork of grays, browns, andblacksto reveal veiled anddistorted where he survived onlybecause ofaBedouinwoman who provided food andspiritualguidance. Inphotographs with Hussein’s regime, he was forced to take exile inthe desert during the first Gulf War. Refusing to enlistunderSaddam AL-KARIM through aconstantspiritual mysticism. Courtesy Galerie Brigitte Schenk,Cologne HALIM N 32°01' 44"—E44° 20' 22" 220 © HalimAl-Karim × 2015/2017 Dust 12b 150 × 8.5 cm 8.5 35 Halim Al-Karim Halim

Glasstress 2017 Glasstress 34 36 L B , The Dakar, Senegal 1983 repercussions ofthese cultural legacies.The work attempts to aesthetic aspect,so as to create asense ofambiguity around from ancient times.Asthe artiststates:“Whenseen together preemptively place fossil fuels asanobsolete energy source in anarranged configuration, oildrillscanhave beautifuland energy generation incontemporary society, questioningthe unexpected shapes,far removed from their originalfunction from the scientific term for frozen liquidsand—the material futures are recurring themesinMonira AlQadiri’s practice, continuously changingmethodsofwealth production and and positionsoildrillingasaninexplicable humanactivity Legacies ofcorruption,petro-cultures, andtheirpossible of iridescentglass.AmorphousSolidGhosttakes itstitle as mere toolsandmachines.Thiswork exaggerates this and thisisapparent inherseriesofoildrillheadsmade that glassismade of. Thismeaningisconflatedwith AL QADIRI MONIRA 7 elements,variable dimensions Courtesy the artistandBerengo Studio N 52°22' 00"—E04° 52' 00" their destructive nature.” Amorphous SolidGhost 2017 /detail 39 Monira Al Qadiri Al Monira Amorphous Solid Ghost 2017 / details dimensions 7 elements, variable Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 38 41 Monira Al Qadiri Al Monira

Glasstress 2017 Glasstress 40 42 L B Mull, UK London, UK Oban, UK 1973 that transcends eras andcountries.Inthisway, he encourages place thatIgo, hasagreat impactonwhatthe fictionalisland but also to itssurreal flora and fauna, architecture andhistory Baffoni stated,the introducing the viewer notonlyto the populationofhisisland, turns outto be.” Characterizing hisentire practice since 2004, globalization, andthe historicalprogress. Asartcritic Andrea fictitious island,simply referred to as“The Island,” andbrings the Scottishcoast,working their way through the canalsof Untitled (NinthStand#1).Ashe states:“My personal island is awork inprogress, so everything thatIexperience, every a taste ofhisfantastic realm into the Venetian lagoonwith Avery hasbeensimultaneouslydiscovering andcreating his islandthrough sculptures, video, texts, anddrawings; Scottish artistCharlesAvery meticulouslydevelops his the audience to reflect onissuessuchassocialpolicy, In hisongoingmulti-disciplinaryproject The Islanders, Venice andfinally arrivingatthe Palazzo Franchetti. CHARLES AVERY Courtesy the artistandBerengo Studio Untitled (NinthStand#1) N 56°25' 00"—W05° 28' 00" eels allude to alongjourney thatbeganon 165 2017 /detail × 108 × 79 cm 45 Charles Avery Charles 79 cm × 108 × Courtesy the artist and Berengo Studio artist and Berengo Courtesy the Untitled (Ninth Stand #1) 2017 165

Glasstress 2017 Glasstress 44 47 Charles Avery Charles

Glasstress 2017 Glasstress 46 49 Charles Avery Charles

Glasstress 2017 Glasstress 48 50 L B , NewYork, USA New Castle, Pennsylvania, USA 1952 his representational works onpaperonlytransformed inanew exact glassreplica ofthe plastic bottle for the glass-cleaning details andexpand them,rendering objectssuchas cocktails depicting scenesofdailylife thatare insharp contrast to his around himto create photorealistic stilllifes andlandscapes on barnapkins,plants,or cigarettes onashtrays. Windex,an product, ishand paintedby the artist andfitsperfectly with on paperthatare basedonhisownsnapshots,sometimes Exploring the relationship between paintingandsculpture, manipulating the photograph inorder to extract mundane minimal, industrial,andabstract sculptural practice. Since Dike Blairisinternationallyknown for gouache the mid-1980s,Blairhasobserved the immediate world dimension, rendering ittrulylifelike. Courtesy the artistandBerengo Studio BLAIR N 40°43' 00"—W74° 00' 00" DIKE 29 × Windex 2017 11 × 5 cm 52 L B Berlin, Germany Venice, Italy 1965 she attemptsto recreate thistype ofsculpture withamaterial that doesnothave the elasticityofleatherbuthas the ability shiny Murano glass,she recreates thissubtle balance oflines through different forms andmaterials.Withthis work inglass and Knotted(2004),whichismade ofinterwoven chains,and Monica Bonvicini’s diverse practice andthisisalso reflected on psychosis. From the first examples BeltedThrough (2003) up to the recent BeltsBall(2015),from whichthiswork takes to be moldedandforged withthe heatof fire. Reimagined in and symmetriesthatconverge into acentral loop emerging its cue, Bondedcontinuesthe artist’s examination ofknots recurring symbolinthe Italian-Germanartist’s oeuvre, she psychiatrist Ronald D. Laing, who publishedseveral books Fetishism andsharp humorare importantcomponentsof in Bonded,aknottedmassofmen’s blackleatherbelts.A was originallyinspired by Knots,abookby the Scottish BONVICINI MONICA Courtesy the artistandBerengo Studio N 52°31' 07"—E13° 24' 29" 84 before oureyes. × 2017 /detail 47 cmdiameter Bonded 55 Monica Bonvicini Monica 47 cm diameter × Bonded 2017 84 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 54 57 Monica Bonvicini Monica

Glasstress 2017 Glasstress 56 58 L B London, UK London, UK 1962 (Dinos) Cheltenham, UK 1966 (Jake) JAKE &DINOS Jake andDinosChapmancreate provocative anddeliberately Artists (YBA).Recurring tropes intheirworks are oftenrelated as enfants terriblesofthe famous generation ofYoung British Dinos Chapmanstated:“We’ve always beeninterested inthe their disturbingimagery by presenting adisquietingmachine point where thingsbecome problematic.” Taking itstitle from that fusesbrains andbottles withworms, screws, andcables 1991, the controversial artistic duo rose to internationalfame to the grotesque: dismembered figurinesandmannequinsof Hermann Hesse’s NobelPrize winningnovel, The GlassBead issues withirreverence anddarkhumor. Collaborating since devices they use to explore the atrocities ofhumannature. children thatare fusedtogether—sometimes withgenitals Game, alost-wax castglass sculpture, alignsitselfwithin in place ofotherfeatures—are amongthe mostcommon shocking mixed-media works thatconfront contentious CHAPMAN Courtesy the artistandBerengo Studio protruding from every angle. N 51°30' 26"—W00° 07' 39" The GlassBeadGame 60 × 2017 /detail 36 × 26.5 cm 61 Jake & Dinos Chapman Dinos & Jake Glasstress 2017 Glasstress 26.5 cm 26.5 × 36 ×

60 Studio artist and Berengo Courtesy the 2017 The Glass Bead Game The 60 62 L B Wuppertal, Germany Liverpool, UK 1949

geometries withit.Italways carries cylindrical forms, certain challenge the perceived fragility, brilliance andtransparency curves, certainabruptandchangingaspectsofthe surfaces glass isamaterialthat—in awonderful way—always hasits Known worldwide since the 1970s,inhisrecent explorations, materials into fluidanddynamic shapes.Thisisparticularly of the expressive, livingmedium.Asthe artistsaid:“Blown and expansion oftotemic structures andprocessing solid A protagonist inthe contemporary artworld, Tony Cragg production process very stimulating.Hisglasssculptures possesses chemical-structural properties thatmake the Cragg’s interests have shiftedtowards the compression evident inhisglassworks, especiallysince thismaterial investigates the relationship between artandmaterials and the edges,so italmostdoesmy job for me.” He has in the debate onthe functionandnature ofsculpture. collaborated with Berengo since 2009. CRAGG Courtesy the artistandBerengo Studio TONY N 51°16' 00"—E07° 10' 00" 84 × Untitled 21 2017 × 14 cm 65 Tony Cragg Tony 7 cm 14 cm × × 19 21 × × Untitled 2017 / detail 84 Studio artist and Berengo Courtesy the Untitled 2016 40 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 64 67 Tony Cragg Tony cm diameter

18 × Courtesy the artist and Berengo Studio artist and Berengo Courtesy the Identity 2017 55 Untitled 2017 30 cm diameter Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 66 68 L B Newcastle uponTyne, UK South Shields, UK 1987 the sensoryexperience ofthe bodyinrelation to architectural viewer isinvited to imagine the phenomenological experience Bed, itsperformance (2015)anddocumentation,usesglassto her bedroom ofallpersonal belongingsandcomforts, leaving sheet ofglass,whichshe sleptonfor five consecutive nights. manipulate andexpose ourmostintimate space and explore of sleepingonglass.Bed capitalizesonthe intrinsic cultural, space andmaterial.For thisperformance, Dicksonstripped discomfort. Thoughnotable to touchthe glassdirectly, the a viewfrom below the glassbedto reveal itseffect onthe The process was captured through photography showing body, exposing the artist andherphysical andemotional only abedframe; the mattress was replaced with alarge DICKSON social, andmaterial properties of glass. N 54°58' 33"—W01° 36' 36" ERIN 2015/2017 /detail Courtesy the artist 190 × Bed 137 cm 71 Tony Cragg Tony

Glasstress 2017 Glasstress 70 72 L B Oaxaca, Mexico Mexico City, Mexico 1972 “popular” art.Onthisoccasion, hissurreal glass sculptures are Mexican artistandtattooistDrLakra defaces, deconstructs, inspired by nineteenth-century medicalchromolithographs. his interest inanthropology andethnography, documenting malformations ofthe humanbodyintersect witheroticism considered civilized orbarbaric, rightorwrong, “refined” or from advertising campaigns,illustrations cutfrom vintage and sensuality, combininglife, death,and desire and show and reinterprets historicalandcontemporary iconstaken reveals adeep understanding ofthe history ofartaswell as asubversive sense ofhumor. Throughout hispractice, of different cultures. Hisjuxtapositionofthese elements magazines andpin-ups,comic booksorpostcards, and his fascination withtaboos, fetishes, myths, andrituals he dismantlesdominantideologies to question whatis figures from family photo albums.Hisstudiesofthe DR LAKRA 36 × 4 elements,42 35 variable dimensions(installation) Courtesy the artistandBerengo Studio × 47 22 cm(heart), N 17°05' 00"—W96° 45' 00" × 32 × 2017 /detail × Untitled 18 cm(stomach)/ 30 × 16 cm(intestine), × 27 × 19 cm(eye), 75 Dr Lakra Dr Glasstress 2017 Glasstress 19 cm (eye), 19 cm (eye), × 27 × 16 cm (intestine), × 30 × 22 cm (heart), 22 18 cm (stomach) / variable dimensions 18 cm (stomach) / variable × × 35 32 × ×

47 Courtesy the artist and Berengo Studio artist and Berengo Courtesy the 4 elements, 42 2017 Untitled (installation) 36 74 76 B/L , Belgium 1958 glass are hard materials thatundergo transformation andare beetle, andspecifically itsstagesofdevelopment, represents strong andfunctional butatthe same time brittle andfragile. seen inHolyDungBeetle withLaurel Tree. Inthiscontext, the paralleled with glassasamedium:boththe beetle’s shelland mutual relations are amonghisfavorite themes. Thiscanbe has beenakey concept, inwhichhumanandanimallife are the sciences,especiallyentomology. The use ofinsectsisa in constantinteraction. Akinsmanoffamous entomologist distinctive feature of his work where man,nature, andtheir a symbolofmetamorphosis to Fabre andinmany ways is Throughout JanFabre’s illustriouscareer, metamorphosis nature atayoung age anddeveloped atrue passion for Jean-Henri Fabre, he became attracted to the studyof Fabre hascollaborated withBerengo since 2008. Holy DungBeetle withLaurel Tree FABRE Courtesy the artistandBerengo Studio N 51°13' 00"—E04° 23' 00" JAN 87 2017 /detail × 31 × 37 cm 79 Jan Fabre Jan 37 cm × 31 × Courtesy the artist and Berengo Studio artist and Berengo Courtesy the Holy Dung Beetle Tree with Laurel 2017 87

Glasstress 2017 Glasstress 78 80 B/L 1966 Glasgow, UK consciousness, hismask-like Scheme for Silvano and Scheme our collaborations, the paradox ofbeinganindividual withina doubt aboutthe functionalityofthe crutches. Here, the artist reflects onthe humanneed for supportinallitscomplexities, represented Scotlandat the 56.. Inspired by which he extends to hisglassworks. Marked by aparticular Scottish artistGraham Fagen questionshowcontemporary for Andrea echo the strong imagerythatwas usedwhenhe society and the supportstructures we need in order to live. as anobjectto help us walk butinamaterialthatgives us the collaborative nature ofthe glass-makingprocess, the form ofScheme for Supportisimmediatelyrecognizable of real orimagined,historicalcontemporary figures to explore ideasofidentityandperformance inportraiture, primal physicality andbasedonIndian-inkdrawings of identities andcultures are formed by creating portraits GRAHAM FAGEN Courtesy the artistandBerengo Studio N 55°51' 28"—W04° 15' 32" Scheme forSilvano 30 2017 /detail × 18 × 16 cm 83 Graham Fagen Graham 5 cm each 13 cm 16 cm × × × 21 30 18 × × × Scheme for Support Scheme 2017 130 Studio artist and Berengo Courtesy the for Andrea Scheme 2017 (left and above) 37.5 Studio artist and Berengo Courtesy the for Silvano Scheme 2017 30 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 82 84 L B 1944 Hannover, Germany The Saarland,Germany GASCH-MUCHE above allthrough reflected light.She usesultra-thin, industrial liquid crystaldisplayglass—suchasthose usedfor cellphone works, she breaks the glassinto shards andthenmeticulously arranges themby the thousandsinto simple geometric forms, an area appears uniform and static because ofthe sameness which simultaneouslyrefract andabsorb light.At first glance, Starting from the studyofelementary geometric shapes,she of the individualpiecesbutwhenthey are struckby light,the sculpture withinpaintingandconcretely makes thispossible sculptures come to . The artistseemsto want to imprison by assembling glassflakes inmediumandsmallsizeswithin geometric shapessuchascircles, quadrangles, andcubes. and sculpture, JosephaGasch-Muche creates minimalist screens—to create dynamic geometric sculptures. Inher installations thatstandoutinwhite andblacktones,but Moving withgreat skillbetween the worlds ofpainting JOSEPHA analyzes the potentialofeachform. Courtesy HellerGallery, NewYork N 52°22' 00"—E09° 44' 00" 65 2007 /detail T. 30/12/07 × 65 × 65 cm 87 Josepha Gasch-Muche Josepha 65 cm × 65 200 cm diameter × × Courtesy Heller Gallery, New York Courtesy Heller Gallery, T. 30/12/07 T. 2007 65 New York Courtesy Heller Gallery, 11/06/04 T. 2004 18

Glasstress 2017 Glasstress 86 88 L B Riyadh, SaudiArabia Khamis Mushait,SaudiArabia 1973 ABDULNASSER banks were exposed for breaking the rules,the use ofthe word Moujaz became afocal point andquestionedthe Islamization born you getastamp, whenyou getmarried,even ifyou need Colonel inthe SaudiArabian army, hisworks address themes a vacation, you needsomeone to stamp apaperfor you . these stampsare delayingourdreams, delayingourgoals, Abdulnasser Gharem’s practice challengesthe perception challenge bureaucracy inthe Arabian Gulf: “Whenyou are Moujaz means“inaccordance withSharialaw.” Recently, as amarketing sloganto attract customers. When these wasting ourlife” (BBCNews,October25,2013).InArabic, of artandculture inSaudiheritage. Aformer Lieutenant Gharem considers thisbureaucracy to be afaçade that of Islamic cultural identityincontemporary societyand The Stamp (Moujaz)takes onasatiricalperspective to often integrate subtle messagesabout the influence certain banksinthe Arab Gulfhave usedMoujaz GHAREM of bankingunderthe name ofSharialaw. of religion andauthorityondailylife. blurs classand ideological issues. N 24°42' 41"—E46° 43' 26" Courtesy Gharem Studio Inc. 120 The Stamp (Moujaz) × 2017 /detail 90 cmdiameter

91 Abdulnasser Gharem Abdulnasser

Glasstress 2017 Glasstress 90 92 B/L 1979 Eaubonne, France fundamental vitalism,itisbasedonapneumatic philosophy: His work isalso present inVenice, withanevocative cascade point ofview, The Unplayed NotesFactory actsasanopera curation ofNicolasBourriaud,Loris Gréaud bringsaformer with analmostalchemicalambitionto crystallize time. The glass furnace issecretly revived andplayshostto awhole Murano factory backto life for the seven-month duration to reinflate, to breathe life into, to invent gas.From this Unplayed NotesFactory invites visitors to venture outto to concealthe mysterious vitrificationofhourglass sand, factory whichhasbeen turnedinto atrue tableauvivant. new trade: anunofficial production line, which is thought of glassandcopperleaves onthe grand staircase ofthe of the 57.Venice Biennale. Onthisoccasion,the former the islandofMurano to discover the awakening ofthis A specialproject for GLASSTRESS 2017andunderthe As Bourriaudstates:“Gréaud’s work isprompted by a Once Again Some Perverse Manipulations GRÉAUD revisiting the mainthemesofhiswork.” variable dimensions(installation) LORIS Courtesy the artistandGréaudstudio Were Refreshing the World N 49°00' 00"—E02° 17' 00" © Loris Gréaud, Gréaudstudio Palazzo Franchetti. 2017 95 Loris Gréaud Gréaud Loris Loris

Glasstress 2017 Glasstress

94 94 97 Loris Gréaud Loris Glasstress 2017 Glasstress

performance / variable dimensions (installation), / variable artist and Gréaudstudio Courtesy the Gréaudstudio Gréaud, © Loris from 30 to 60 cm diameter each piece 30 to from 2017 Notes Factory Unplayed The 96 99 Loris Gréaud Loris Glasstress 2017 Glasstress

performance / variable dimensions (installation), / variable artist and Gréaudstudio Courtesy the Gréaudstudio Gréaud, © Loris from 30 to 60 cm diameter each piece 30 to from 2017 Notes Factory Unplayed The 98 101 Loris Gréaud Loris

Glasstress 2017 Glasstress 100 102 B/L 1951 , element oftheirrebirth, transforming inthe sphere ofthought the materialityofthe paper objectsinto the artistic medium Fine ArtsinLeipzig, describes:“Withtemple/market she has language. Inhertemple/market, she hastransposed objects from the ashes.The fire thatthrough the actofburninghas In Chinese society, communicationbetween the livingand proposed by AustrianartistXenia Hausner who, since 2011, robbed the objectsoftheirearthlysubstance becomesan Festival, handmade paperreplicas ofconsumergoodsare literally resurrected the burnt paperobjectslike aphoenix has incorporated Asiatic motifsinto hersignature artistic ritually burned.The process isbelieved to aidthe journey to the beyond andto help people contacttheirdeparted the deadhasaprominent role, andduringthe Qingming dimensionality. Alfred Weidinger, director ofMuseum that are depictedinherpaintingsanewmediumand of glassand inthisway rendering themomnipresent.” relatives. Thisisthe startingpointfor the narrative HAUSNER 8 elements,variable dimensions Courtesy the artistandBerengo Studio XENIA N 48°12' 29"—E16° 22' 23" temple/market 2017 105 Xenia Hausner Xenia

Glasstress 2017 Glasstress 104 106 L B Vienna, Austria Brunico, Italy 1970 Üç kadın sesiiçinsaraylar Palaus peratres veus femenines Paleizen voor drie vrouwelijke stemmen Paladser for tre kvindelige stemmerpalaciospara tres voces femininas Pilys-trijumoterubalsams Дворци длятрёхженских várak három nöihanghozolubiri lw’amalobooziasatuagekikyaala kasri ya sautitatuzakike Palais pourtrois voix féminines Palaces for three female voices Дворци за Palaisen firdräi weiblech Stëmmen Palac pertrëi ujesdad’ëila palác pro třihlasyženské ة ّ أنثوي קולותנשים pallate përtre zëra femërore أصوات Палате за Παλάτια γιαقصورلثالث “Palazzi pertre voci femminili Paláce pre triženské hlasy гласа триженска голосов 75 cm(height),approx. 100 lapo ho an’ny feambevavy telo三女聲之宮” HOFER Pałace natrzygłosyżeńskie Palácios para três vozes femininas Courtesy Galerie Meyer Kainer, Vienna Palazzi Per Tre Voci Femminili SIGGI N 48°12' 29"—E16° 22' 23" τρειςγυναικείεςφωνέςPaläste fürdrei Frauenstimmen 왕궁에대한세여성의목소리 . 女声のための宮殿 2017 /detail Palate zatriženska glasaארמונותלשלושה × 100 cm(base) триженски гласа 109 Siggi Hofer Siggi

Glasstress 2017 Glasstress 108 110 L B London, UK Shiraz, Iran 1955 Alar, inthe wake ofpastexamples, isplaced onthe stunning surrounding environment; itsflowing form seemsto dissolve and poetic compositionsthatcome to life through modular, HOUSHIARY Shirazeh Houshiary’s glasssculptures are transcendental numerous reflections withtheirtwisting, abstract shapes staircase ofthe Palazzo Franchetti and its transparency rectangular-shaped blocks,exploring spiritualprinciples and the variations oftonesthat reflect and refract light blue, pink,andgray, eachsculpture hasitsownspecific and pasteltones.Inmonochromatic shadesofyellow, identity thatcommunicateswithnatural lightandthe and abstract forms. Houshiary’s sculptures generate SHIRAZEH as lightappears to dissipate inspace. mesmerize passers-by andvisitors. Courtesy the artist,LissonGallery, N 51°30' 26"—W00° 07' 39" 145 and Berengo Studio 2017 /detail × 44 Alar × 115 cm 113 Shirazeh Houshiary Shirazeh Glasstress 2017 Glasstress 115 cm × 44 ×

145 2017 artist, Lisson Gallery, Courtesy the Studio and Berengo Alar 112 114 L B , France , California,USA 1969 Cameron Jamie isavisualartist,filmmaker, and performance continuous artistic research approaching socialsciences and anthropology, Jamie molds bodiesandfaces whichmaintain prevalent inhiscastglasssculpture Lividity(State II),awork inserts ceramic sculptures withalmostprimordial traits. Ina his sculptures. Throughout hispoetics,there is acontinuous evident traces ofhistouchdue to the obvious grooves that be suspendedbetween life anddeath.Asthe artisthimself make hiswork vibrant. These grotesque features are also maintain the plasticityofclay, whichhe usuallyusesfor where the artistexperimented withglasswhile tryingto artist internationallyknownfor installationsinwhich he motif, regardless ofmedium,where subjectsappearto describes: “Lividityisbotharuinandgrowth of asoul CAMERON Courtesy the artistandBerengo Studio JAMIE captured inafrozen state.” N 34°03' 08"—W118° 14'37" Lividity (State II) 19 × 21 2017 × 35 cm 117 Cameron Jamie Jamie Cameron Cameron

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116 116 118 B/L 1957 Vienna, Austria meaning ofthe letters isnotclearto the viewer immediately— creates sculptures, installations,andevocative environments. stresses the connectionsbetween light,space, andlanguage. is composedoftwo aspects:notonlyisthe bodyofthe work light .Itisaninteraction between these mediums.” The title Brigitte Kowanz isrenowned for heruse ofamediumthat is it isencoded.The work reflects the connectionoflightand not exactly conventional: light.From thisintermediary, she as amedium,visible. Kowanz co-represented the Austrian the surface thattogetherconvey the word “Volumen.” The a volume, “lumen” isalso the Latin word for light.The work artist: “Lightshowsthe language andthe language shows space aswell aslinguistic explicitness. Asstatedby the Vo-lumen isaspherical-objectwithmultiple letters on therefore one ofhergoalsasanartististo make light, Light makes space visible, yet staysinvisible itself, BRIGITTE KOWANZ Pavilion atthe 57.Venice Biennale. Courtesy the artistandBerengo Studio N 48°12' 29"—E16° 22' 23" 50 × 30 cmdiameter Vo-lumen 2017 121 Brigitte Kowanz Brigitte

Glasstress 2017 Glasstress 120 122 L B Prague, Czech Republic New York City, NewYork, USA 1967 meaning andloss.” Herartistic language profoundly highlights replica ofan actualcumuluscloud.Althoughcloudsappear to float effortlessly, they carryenormous weight.The sculpture the disparityandcontrast between whatdefinesthe human the mainelement,statuesthatare stillormoving, standing Karen LaMonte creates beautifullost-wax castsculptures or reclining, come to life inamagicalplayofreflection and sculpture Cumulusisalso inacertainway ameditationon occasion, LaMonte placesaseriesoflife-sized sculptures weightlessness. Cloudsare evasive—they have no stable Danto—in adedicatedessay—defined as:“The poetryof that represent the bodythrough women’s garmentsfrom light. At the entrance ofthe Palazzo, the massive marble the contradictions of presence andabsence, weight and form—yet LaMonte’s sculptedmarble piece isaprecise first floorofthe Palazzo Franchetti. Byusingclothing as that are indialogue witheachotherinthe atriumonthe different eras andtraditions, portraying whatArthur C. form andwhatwe project asasocialpersona. For this LAMONTE focuses visitors’ attentiononclimate change. KAREN Courtesy AustinArtProjects, Palm Desert N 50°05' 00"—E14° 25' 00" Reclining Nocturne 1 © Karen LaMonte 2017 56 2015 /detail × 124 × 84 cm 125 Karen LaMonte LaMonte Karen Karen

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124 124 127 Karen LaMonte Karen 67 cm × 87 × Nocturne 6 Nocturne 2016 144 Desert Palm Courtesy Austin Art Projects, 2017 LaMonte © Karen

Glasstress 2017 Glasstress 126 129 Karen LaMonte Karen 65 cm × 65 × Nocturne 3 Nocturne 2016 152 Desert Palm Courtesy Austin Art Projects, 2017 LaMonte © Karen

Glasstress 2017 Glasstress 128 131 Karen LaMonte LaMonte Karen Karen

Glasstress 2017 Glasstress

130 130 133 Karen LaMonte LaMonte Karen Karen

Glasstress 2017 Glasstress

132 132 134 L B Los Angeles, California,USA Salt Lake City, Utah,USA 1945 94 2014 and,due to the public outcryover itsovertly sexual nature, consumerism andmass-mediainWestern society. GlassTrees inflatable sculpture that was placedinPlace Vendôme, Paris, in Tree 1(Paris), aglassversion ofTree was defaced andremoved withintwo daysof itsinstallation. uncomfortable through disturbing andoftensexually explicit Paris atthe Palais de laMonnaie for hisvery successful solo Controversial artistPaul McCarthy aimsto make audiences subverts the expectations ofthe viewer. The series includes × is anintentionallyprovocative seriesofhand-blownglass Glass Trees isaclearreplication ofthe group ofinflatable sculptures thatMcCarthy exhibited afew monthslaterin sculptures thatengageswithhiscontentiouspoetics and sculptures andvideosthatpropose acriticalanalysisof M 76 32 cmdiameter(Tree 5),80 110 × × 50 Courtesy the artistandHauser&Wirth,Los Angeles 45 × C 6 elements,97 × 35 (Tree 2)/variable dimensions (installation) 36 (Tree 3),102 exhibition, Chocolate Factory. PAUL N 40°45' 00"—W111° 53'00" CARTHY 2017 /detail Glass Trees × 46 × × × 40 cmdiameter(Tree 6), 35 cmdiameter(Tree 1[Paris]), 26 cm(Tree 4), , the infamous enormous

137 Paul McCarthy Paul

Glasstress 2017 Glasstress 136 138 B/L 1977 London, UK HAROON MIRZA technically enhancedplant mirrors the hallucinatoryeffects of internationally knownfor hissculptures and installationsthat in thiswork inwhichred andblue LEDlightsare programmed delicacy ofGaiaFugazza’s paintedobservations ofdailylife, the vine.” Viewers are encouraged to contemplate cultivated around electrical wires. The glow-in-the-dark quality ofthis electric waves produces anuncanny hybrid: manmade light New York, describes:“The merging oforganic materialsand growing systemfor psychedelic plantsandalamp.Mirzais harness lightwaves andelectric currents andthisisshown stimulates nature, green shootsthrive inglass,tendrilscurl the artistspresent Vegetable Shrine , asculpture thatisa to stimulate photosynthesisinthe plants.Clare Davies, Assistant Curator atThe Metropolitan MuseumofArt, Fusing the kinetic sculptures ofHaroon Mirzawiththe biology and the effects ofhuman intervention. Courtesy the artistsandBerengo Studio N 51°30' 26"—W00° 07' 39" 190 Vegetable Shrine - × 2017 /detail 90 cmdiameter L B London, UK Milan, Italy 1985 FUGAZZA GAIA 141 Haroon Mirza and Gaia Fugazza Gaia and Mirza Haroon 90 cm diameter × Vegetable Shrine Vegetable 2017 190 Studio artists and Berengo Courtesy the

Glasstress 2017 Glasstress 140 142 L B Rio de Janeiro, Brazil New York City, NewYork, USA São Paulo, Brazil 1961 Referencing the historicalimportance ofvessels ascontainers celebrate ourrole asliquidlife vessels andourplightto make with Muniz’s goblets:due to the scale, they do notserve their Leonardo to Ghirlandaio onto Veronese’s depictions ofThe of life, he mainlydrew inspiration from DavidLean’s drama, (Katharine Hepburn)andRenato di Rossi (Rossano Brassi). connected to some mysterious ergonomic principles.They Summertime (1955),whenaheart-shapedVenetian goblet original purpose;they become asymbolrather than atool. between the usesofrelic andimage. Thisideaisamplified The glassactsasamemoryvessel creating adistinction He continues:“Individualsare overblown objectsbutstill Vik Munizconsistentlyexplores the dualityofthe world Last Supper,Venetian glass.isprominently featured.” as image andmaterial, such asinthisseriesoftwenty- one gianthand-blownchalices.Asthe artiststates:“In prompts the meetingofunlikely lovers Jane Hudson 21 elements,from 107to 170 cm each(height), from 30to 50cmeach(diameter) MUNIZ Courtesy the artistandBerengo Studio it beautifuland meaningful.” S 23°33' 00"—W46° 38' 00" VIK 2017 /detail Individuals 145 Vik Muniz Vik Individuals 2017 / detail 170 cm each (height), 107 to 21 elements, from 50 cm each (diameter) 30 to from Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 144 147 Vik Muniz Vik

Glasstress 2017 Glasstress 146 148 B/L 1957 New York City, NewYork, USA reality andfiction, makingus experience situationsthatare at urges, andotherpsychological traumas thatseekempathetic way, he creates suggestive andengagingvideo-installations intensifies the visitor’s experience. Hisvideo productions are tell usthatreality isalso made ofcinematic fictions. For this installations, electronic devices are always insightandthey new work titledM*orb•, Oursler showsusthe meansto align dimensional backgrounds—in awide range of colors, which reminiscent ofdreams, nightmares, hallucinations, sexual that involve the surrounding space. Eyes andmouthsare participation from those who watch them. Inhiscomplex greatest Americanpioneers ofvideo art.Inanimportant Tony Oursler isinternationallyrecognized asone ofthe constantly deformed andprojected—on two- orthree- OURSLER Courtesy the artistandBerengo Studio TONY N 40°43' 00"—W74° 00' 00" once truthfulandsurreal. 137 2017 /detail × M*orb• 94 × 8.5 cm 8.5 151 Tony Oursler Tony 8.5 cm × 94 × M*orb• 2017 137 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 150 152 B/L 1955 Barcelona, Spain responses. He celebrates humandiversity while emphasizing glass, the humanbodyisincredibly strong andfantastic but collections andpublic spaces.Throughout hiscareer, he has effects andthe shapesthatglasscanassume. He believes A protagonist onthe internationalstage, Spanishsculptor that glasscanactasametaphorfor the humanbody:like Misty Head . He hascollaborated with Berengo since 2010. the artistseeksto evoke strong emotionsandintellectual experimented withconventional materialsandinnovative human body—especially sculptural portraits ofwomen— very fragile atthe same time. Inhiscontemplative works, technologies butisparticularlyintriguedby the luminous humanity, ascanbe seeninhisstunningglasssculpture, the importance ofcultural unityandthe ephemerality of Jaume Plensaisgloballyrenowned for sculptures ofthe which canbe admired across the world inprestigious PLENSA JAUME Courtesy the artistandBerengo Studio N 41°23' 00"—E02° 10' 00" © PlensaStudio Barcelona 57 Misty Head × 47 2017 × 40 cm 155 Jaume Plensa Jaume

Glasstress 2017 Glasstress 154 156 L B Antwerp, Belgium London, UK Lille, France 1978 nervous to address.” The fountains are a playonwords of “the representation ofthe female isalmostsomethingthatwe are imagine the sensoryexperience offeeling water flowing from Grandad to Come Back)Prouvost encourages the viewer to Laure Prouvost’s works are oftenall-encompassing,surreal, through immersive, tactile, andsensuousinstallationsthat voluptuous glassbreasts. Asthe artistherself states:“The 1-2 (for GlobalWarming) andGDMDrinkingFountain (For frequently explore language, words, andtheirmeanings. humorous, andblurthe linesbetween fictionand reality engagement ofthe audience, andwithCoolingSystem PROUVOST A recurring characteristic ofherpractice isthe active generous bodyandthe generous cityofVenice.” LAURE Courtesy the artistandBerengo Studio (For Grandad to Come Back) N 51°13' 00"—E04° 23' 00" GDM DrinkingFountain 80 × 72 2017 × 47 cm 159 Laure Prouvost Laure 40 cm (watercolor) 50 cm diameter (sculpture), 50 cm diameter (sculpture), × × 51.5 Cooling System 1 Cooling System Global Warming) (For 2017 237 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 158 161 Laure Prouvost Laure 40 cm (watercolor) 25 cm diameter (sculpture), 25 cm diameter (sculpture), × × 51.5 Cooling System 2 Cooling System Global Warming) (For 2017 183 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 160 163 Laure Prouvost Prouvost Laure Laure

Glasstress 2017 Glasstress

162 162 165 Laure Prouvost Laure

Glasstress 2017 Glasstress 164 166 London, UK W London, F Berlin, Germany London, UK 2005

INTERNATIONAL previous versions andcausesthe organic nature ofmovement motion, inviting movement from the audience. InSwarm Study have beenexploring collective behaviorasexpressed through Random International isanexperimental artistcollective that, Swarm Studyseries(2008–present). Since itsinception,they Founded in2005by HannesKoch andFlorianOrtkrass (both through active participationinstallations, addresses themes for GLASSTRESS 2017 , Swarm Study(Glass)/Irepresents a to be truncatedandabstracted whenviewed from different born in1975)London, UK,the studio nowincludesalarger are individualliving things, autonomouslymoving together.” point ofdeparture withinRandom International’s on-going those withinitsvicinity:“The lightsbehave asthoughthey of autonomy andidentityinthe post-digitalage. Created The swarm in thisglassversion istighteranddenserthan (Glass) /I,the illuminated“swarm” responds to actionsof perspectives around the sidesofthe glasssheets. RANDOM and Galerie Brigitte Schenk,Cologne Courtesy Pace Gallery, NewYork, team inLondon andBerlin. N 51°30' 26"—W00° 07' 39" Swarm Study(Glass)/I 99.2 2017 /detail × 40.4 × 44 cm 169 Random International Random

Glasstress 2017 Glasstress 168 170 L B New York City, NewYork, USA Brunnen, 1964 Constantly exploring the ephemerality oftime, Ugo Rondinone different directions andcreate delicate lightgames where the history ofart,evokes a subversive twist thatisemblematic of into acontemporary artcontext. Inspired by hisseriesprimal RONDINONE the white background. Inthiscontext, the reappearing motif (2013), he transposes hisraw bronze sculptures in an ocean sculptures increase their pathosby reflecting sunlightand often reinvents archetypal imagestaken from classicalas projecting shadows thatare incontinuous motionagainst well asprimitive artandtranslates these timelessimages away, aseriesofcastglasshorses inbeautifulshadesof blue. The twelve horses inthe Palazzo Franchetti allface of ahorse, whichhas one of the longesttraditions inthe 12 elements,15.5 variable dimensions(installation) Courtesy the artistandBerengo Studio N 40°43' 00"—W74° 00' 00" UGO Rondinone’s works. an oceanaway 2017 /detail × 16.5 × 5 cmeach/ 173 Ugo Rondinone Ugo Glasstress 2017 Glasstress 5 cm each / × 16.5 ×

Courtesy the artist and Berengo Studio artist and Berengo Courtesy the 12 elements, 15.5 2017 an ocean away variable dimensions (installation) variable 172 174 L B 1973 New York City, NewYork, USA Vienna, Austria Salzburg, Austria SCHINWALD simple exchange. Onthe contrary, itembodiesacelebration were doingtheirbestto disguise thattableswere primarily accentuates rather thanalleviates the sensationofdeficit. As earlyasthe mid-eighteenthcentury, Britishcarpenters made for afunction.Instead, they began to alterthe legs with sexuality. Nowleaningonthe wall, the legsbecome A partofthe sculpture appears amputated,replaced by Lilly furtherexaggerates thisnotion andreplaces utility are so elementallycombined,were once partofatable. a shiny, clearglasssupplement. Thisglasslimb isnota For amoment,one hasto forget that these legs,which to enhance theiranthropomorphic qualities,bringing of discontinuity. The transparency ofthe prosthesis limbs—limbs thatdon’t suggestusage butrather MARKUS them closerto humananatomy. Courtesy the artistandBerengo Studio appear coquettish,even frisky. N 48°12' 29"—E16° 22' 23" 150 × 25 2017 Lilly × 30 cm 176 L B Düsseldorf, Germany Oldenburg, Germany 1954 subtle balance ofsymmetries,colors, andgeometric shapes, the artistexperiments withnewartistic avenues. Through a the first time atthe ModernaMuseetinStockholm2016, garden inthe world—become yet anothermeans by which the dwarves—decorative objectsthatcanbe found inany a valuable collector’s item.Schütte hascollaborated with distances itselffrom ThomasSchütte’s usualworks. Born The glassseriesGartenzwerge (literally, garden gnomes) some polychrome works thathe previously realized from the humblestofmaterialsandat the same time refers to Schütte designsasculptural group thatisreminiscent of as agroup ofceramic sculptures thatwas presented for glass componentsfrom 27to 60cmeach(height), from 16to 38cmeach(diameter)/wooden tables SCHÜTTE THOMAS Courtesy the artistandBerengo Studio 7 elements/3individualseries approx. 75 N 51°14' 00"—E06° 47' 00" Berengo since 2011. Gartenzwerge 2017 /detail × 120 × 90 cmeach 179 Thomas Schütte Schütte Thomas Thomas

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178 178 180 L B New York City, NewYork, USA Boston, Massachusetts, USA 1969 smashed, sorted,andreused ordiscarded. Sze hasdeveloped no intrinsic value to continuouslychallenge the static nature experience. Asthe artistdescribes:“The recycled fragments circumference ofthe Palazzo Franchetti withasingle thread sense ofanxietyandfragility. The delicate, unifyinggesture The tiny shards are charged withasense ofprecariousness dialect for the excess glassthatremains inthe cruciblesat Sarah Sze’s site-specific installation,Cotissi,encircles the the endofthe glass-blowingprocess. These remnants are a signature artistic language by usingmaterialsthathave that colonize andfracture the architecture ofthe Palazzo, form athinringtracing the building:teeteringbetween a of glassshards. Itstitle derives from the terminMurano glistens like teethor light across ahorizonline of water.” of sculpture, reconfiguring anddisorientingthe viewer’s harnessing the fullweight andscale ofitsfacade. SARAH Courtesy the artistandBerengo Studio N 40°43' 00"—W74° 00' 00" variable dimensions SZE 2017 /detail Cotissi 183 Sarah Sze Sze Sarah Sarah

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182 182 185 Sarah Sze Sarah

Glasstress 2017 Glasstress 184 186 L B Limburg, Belgium Sint-Truiden, Belgium 1965 VANMECHELEN and agigantic chicken’s foot. Asecond egghangsabove the have apromising future. The future iswild.Vanmechelen has plastic containingacolossalegg,two bronze tree branches, save ourplanet “we are caging nature.” The eggoutside the cage, however, suggeststhatlife mustbe free to thrive and created a12-meter-high installationthattowers above the cage. Combined,these seven elementsmake acompelling consists ofabroken glass base, acage made ofrecycled For GLASSTRESS 2017 , BelgianartistKoen Vanmechelen transformation. The artistbelieves thatinourattemptto garden ofthe Palazzo Franchetti. HisProtected Paradise statement onthe future ofmanonaplanetinradical collaborated with Berengo since the 1990s. approx. 1200 KOEN N 50°55' 00"—E05° 20' 00" Protected Paradise Courtesy the artist 2017 /detail × 1000 × 600 cm 189 Koen Vanmechelen Koen 600 cm × 1000 × 65 cm × 110 × Courtesy the artist Courtesy the Protected Paradise Protected 2017 1200 approx. artist Courtesy the Coming World 2017 85

Glasstress 2017 Glasstress 188 191 Koen Vanmechelen Koen

Glasstress 2017 Glasstress 190 193 , Koen Vanmechelen Vanmechelen , Koen Koen Vanmechelen Koen Protected Paradise Protected Protected Paradise Protected sort out their plastics at home.” sort out their plastics at home.” cultural diversity, identity, and community. and community. identity, diversity, cultural the world. Life cannot be caged or contained. caged or cannot be Life world. the society. The Belgian recycling company Eco-Oh! Eco-Oh! company Belgian recycling The society. Vanmechelen states: “The cage is constructed out of is constructed out of cage states: “The Vanmechelen about the position of the human species on a radically human species on a radically position of the about the of contemporary society. “Every perceived or imaginary perceived “Every society. of contemporary The installation is also a metaphor for the troubled state troubled the a metaphor for installation is also The only hatch if the context, the environment is ready for it.” for is ready environment the context, only hatch if the of the Palazzo Franchetti, it makes a dramatic statement a dramatic it makes Franchetti, Palazzo of the In his installation In his installation public, but this is what we are doing with our environment environment doing with our are but this is what we public, other one rises high above the world, free. One cannot but One free. world, the rises high above other one It is a metaphor for the hysterical state of contemporary of contemporary state hysterical the It is a metaphor for 4-meter-high caged monster is sandwiched between two two caged monster is sandwiched between 4-meter-high air, will determine the future, unprotected, surprising. It can unprotected, future, the will determine air, cage containing a giant egg and a fossilized chicken’s foot foot chicken’s fossilized containing a giant egg and a cage massive eggs; the one beneath the claw is caged itself, the claw is caged itself, beneath the one eggs; the massive every day. We cage beauty; we want to protect it. The only it. The protect to want beauty; we cage We day. every transforming planet. From a sea of broken glass emerges a emerges glass a sea of broken From planet. transforming “I understand that the cage can seem very disturbing to the disturbing to can seem very cage that the “I understand artist whose work explores the importance of biological and importance the explores work artist whose transformed household plastics into beams reinforced with with beams reinforced plastics into household transformed presents the unique universe he has been developing for the for has been developing he universe unique the presents threat is followed by some form of internal confinement with form some by is followed threat that is suspended between the arms of two cloned trees. The cloned trees. arms of two the that is suspended between answer possible is what is standing above this sculpture. This this sculpture. is what is standing above possible answer past twenty years. He is an internationally acclaimed Belgian is an internationally acclaimed He years. past twenty this contradicts the essence of life and the core of our human core and the of life essence the this contradicts enclosures, walls, detention centers, laws, and frameworks. All laws, and frameworks. centers, detention walls, enclosures, egg, a recalcitrant object, born out of the fire, water, sand, and water, fire, object, born out of the egg, a recalcitrant The sculpture is a visual uppercut. Towering above the garden garden the above Towering is a visual uppercut. sculpture The question what will inevitably emerge from the egg and turn on the from emerge question what will inevitably steel, an expression of gratitude to the millions of people that that millions of people the to of gratitude steel, an expression recycled material, collected from the past but transmogrified. past but transmogrified. the material, collected from recycled

Glasstress 2017 Glasstress 192 195 Koen Vanmechelen Koen . The work is a kind of work . The Collective Memory Collective , which has been running for , which has been running for —that responsibility is ours.” —that responsibility is promoted by the European European the by is promoted Glasstress 2017 Glasstress Protected Paradise Protected Nica Hybrid Art award (2013). Nica Hybrid Art award nature morte nature with a strong message to the next generations. generations. next the to message with a strong restoration of freedom and equilibrium. and of freedom restoration as a universal symbol for human rights. symbol for as a universal Protected Paradise Protected Vanmechelen’s marble sculpture sculpture marble Vanmechelen’s Inter-University Centre for Human Rights (EIUC) and for Centre Inter-University future from from future scientific collaborations have earned him an honorary earned him an honorary have collaborations scientific Cosmopolitan Chicken Project Cosmopolitan Chicken Central to Koen Vanmechelen’s oeuvre is the chicken, a chicken, is the oeuvre Vanmechelen’s Koen to Central the Global Campus of Human Rights who have selected selected have who Global Campus of Human Rights the global heritage and examines the way that we choose to choose that we way the and examines global heritage countries. Their respective philosophies contribute to the to contribute philosophies countries. Their respective live and evolve. Multidisciplinary scientific collaborations collaborations scientific Multidisciplinary and evolve. live just chicken: his practice deals with concepts such as the deals with concepts such as the his practice just chicken: By bringing together and exploring the interplay between interplay between the By bringing together and exploring and community engagement are integral to his approach. his approach. to integral and community engagement are contrast. Different materials, made in different worlds and in different materials, made Different contrast. of the various materials and elements. “Art is always about is always and elements. “Art materials various of the He firmly believes that science and art together can reveal reveal and art together can that science firmly believes He thirty years now. Vanmechelen has more on the menu than on the has more Vanmechelen now. thirty years are world-famous. The artist himself is often identified with The world-famous. are species that, through his projects, is revealed as an artwork as an artwork is revealed his projects, species that, through meta-idea behind art, science, and philosophy, Vanmechelen reflects upon our reflects Vanmechelen and philosophy, art, science, the vicissitudes of life and human existence. Vanmechelen’s Vanmechelen’s and human existence. vicissitudes of life the nature. Paradise can never be found within walls. It is carried within walls. found be never can Paradise nature. and a metaphor for human society. Vanmechelen’s chickens chickens Vanmechelen’s human society. and a metaphor for nature morte nature This is expressed through the combination and confrontation combination and confrontation the through This is expressed

his We should reverse the dangerous imbalance we have created. created. have we imbalance dangerous the should reverse We along by the inconstant river of time and evolution. Paradise is Paradise and evolution. of time river inconstant the along by like life itself: fascinating and terrible, boundless and beautiful.” boundless and terrible, fascinating itself: life like

doctorate from the University of Hasselt (2010) and the Golden of Hasselt (2010) and the University the from doctorate Critical at least for our species. Sculpting new life and a hopeful our species. Sculpting new life Critical at least for 194 197 Koen Vanmechelen Koen

Glasstress 2017 Glasstress 196 198 B/L 1974 Vienna, Austria WIEDENHOFER has become one ofthe mostpopularurbanareas inthe United Jenga-like skyscraper at56Leonard Street andthe Freedom degraded little rat hole” (1872).However, inthe lastdecadesit States, attracting artistsofalltypesandbeinganinspiration Tower, whichcommemorates the unforgettable tragic events involves some important buildingssuchasthe ZBuilding,the cherishes itspastwhile boldlyandfearlessly moving forward extraordinary resiliency andindestructible spiritofNewYork New York. The artistgave careful consideration inchoosing Tribeca, the “triangle” belowCanal Street inNewYork City, of 9/11 andisaconstantreminder oftheof 9/11 perseverance of City. For the artist,TriBeCa 2017represents howthiscity to many, including Sabine Wiedenhofer. The installation was once describedby TheNewYork Timesasa“dirty, a military-green colorfor the work asitsymbolizesthe SABINE N 48°12' 29"—E16° 22' 23" and Galerie Kovacek, Vienna 90 Courtesy the artist into the future. TriBeCa 2017 × 2017 /detail 210 × 110 cm 201 Sabine Wiedenhofer Sabine

Glasstress 2017 Glasstress 200 203 Sabine Wiedenhofer Sabine

Glasstress 2017 Glasstress 202 204 L B Limberg, Austria Vienna, Austria Bruck anderMur, Austria 1954 everyday objectsandsculpture. By bringingtogetherimages contrasts andparadoxes while reflecting onthe social role of his unexpected approach to explore the equilibriumbetween for Wurmis“such aEuropean icon”—is apretext for broader the artist.Itisinthiscontext thatasimple sausage—which Wurm presents aseriesofglasssculptures thatexemplify of commonobjectswiththeircurrent meaning,he creates thinking aboutthe necessitiesandneedsofliving beings. Sausages thatcome to life, abottle withlegsthatlooks humorous or unusualforms characterize Wurm’s works; contemporary society. He co-represented the Austrian Subtle word games andnuances,unlikely associations, rather thansimple collectibles,they mockandanalyze GLASSTRESS 2017,the renowned AustrianartistErwin like itisdancing,andhotwater bottleswith shoes.For Pavilion atthe 57.Venice Biennale. ERWIN WURM Courtesy the artistandBerengo Studio N 48°35' 45"—E15° 51' 41" 9.5 2017 /detail × Fat Bus 18 × 10 cm 207 Erwin Wurm Erwin 18 cm × 11 × Mutter 2016/2017 39 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 206 209 Erwin Wurm Erwin Glasstress 2017 Glasstress 18 cm × 23 ×

62 Studio artist and Berengo Courtesy the 2016/2017 Small Sausage Venetian 208 210 L B New York City, NewYork, USA Los Angeles, California,USA 1975 preserving insects,plants,andeveryday materialsinlayers of resin, butdue to the toxins involved inthe production process, specimens insurreal scenarios, eachcomposedofthousands three-dimensional collagesthataddress themesofdystopia, eccentric thatcanbe discovered inthe everyday, whichwas A self-taught artist,DustinYellin creates intricatelydetailed by 2009he transitioned hisprincipalmedium to glass.Many sculptural paintingsusingmultiple layers ofglassto create of hisrecent works have reached monumentalscale. Inthe stories between objects andthe taxonomy ofhisinvented boundaries ofthe medium,exploring the relationships and series he presents atGLASSTRESS 2017,Yellin pushesthe instrumental for hisartistic language. Originally, he began formative years were largely influenced by his extensive science, humanconsciousness,andthe fantastical. His travels to remote placesthatrevealed the bizarre and DUSTIN of images,eternally trapped inglass. YELLIN Courtesy the artistandBerengo Studio N 40°43' 00"—W74° 00' 00" 40.6 40.6 Invisible Sisyphus 2017 /detail × 40.6 × 20.3 cm 213 Dustin Yellin Dustin

Glasstress 2017 Glasstress 212 215 Dustin Yellin Dustin 20.3 cm 20.3 × 40.6 × Invisible Sisyphus Invisible 2017 40.6 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 214 217 Dustin Yellin Dustin 19 cm × 38.4 × The Left Hand of Darkness The 2016 39.4 Studio artist and Berengo Courtesy the

Glasstress 2017 Glasstress 216 GLASSTRESS ANTHOLOGY 221 GLASSTRESS Glasstress Anthology Glasstress E 00° 07' 39" – Glasstress 2017 Glasstress

N 51° 30' 26" 220 223 GLASSTRESS 2011 Glasstress Anthology Glasstress E 00° 07' 39" – Glasstress 2017 Glasstress

N 51° 30' 26" 222 225 GLASSTRESS RIGA Glasstress Anthology Glasstress E 24° 06' 18" – Glasstress 2017 Glasstress

N 56° 56' 59" 224 227 GLASSTRESS STOCKHOLM Glasstress Anthology Anthology Glasstress Glasstress E 18° 04' 69" – Glasstress 2017 2017 Glasstress Glasstress

N 59° 19' 45" 226 229 GLASSTRESS NEW YORK Glasstress Anthology Glasstress W 74° 00' 00" — Glasstress 2017 Glasstress

N 40° 43' 00" 228 231 GLASSTRESS BEIRUT Glasstress Anthology Anthology Glasstress Glasstress E 35° 30' 06" – Glasstress 2017 2017 Glasstress Glasstress

N 33° 53' 37" 230 233 Glasstress Anthology Glasstress GLASSTRESS 2013 WHITE LIGHT / WHITE HEAT GLASSTRESS 2013 WHITE LIGHT E 00° 07' 39" – Glasstress 2017 Glasstress

N 51° 30' 26" 232 235 GLASSTRESS 2015 GOTIKA Glasstress Anthology Glasstress E 00° 07' 39" – Glasstress 2017 Glasstress

N 51° 30' 26" 234 237 GLASSTRESS BOCA RATON Glasstress Anthology Glasstress Glasstress 2017 Glasstress

N 26° 22' 06" - W 80° 07' 44" 236 Glasstress 2017 Glasstress Anthology

5.5 DESIGNERS HYE RIM LEE ADEL ABIDIN KRIS LEMSALU AI WEIWEI THOMAS LEROOY THE STRESS ERDAĞ AKSEL TOMAS LIBERTÌNY DIANA AL-HADID GLASSTRESS BETH LIPMAN HALIM AL-KARIM HEW LOCKE MONIRA AL QADIRI DELPHINE LUCIELLE BEHIND JOSEF ALBERS MASSIMO LUNARDON HILA AMRAM URS LÜTHI ALICE ANDERSON ALASTAIR MACKIE POLLY APFELBAUM SARMITE MALINA and KRISTAPS KALNS THE GLASS RON ARAD FEDERICA MARANGONI ARMAN JASON MARTIN JEAN ARP KRIS MARTIN CHARLES AVERY GLASSTRESS The artists’ overall cultural diversity OKSANA MAS AYMAN BAALBAKI 2011 PAUL MCCARTHY is an integral part of the project MIROSŁAW BAŁKA KATE MCCGWIRE designed to involve them in first RINA BANERJEE WHITNEY MCVEIGH TANATOS BANIONIS HAROON MIRZA person, spurring a creative process ALDO MONDINO characterized by collaboration and ANTHON BEEKE VIK MUNIZ PIEKE BERGMANS NABIL NAHAS the exchange of know-how. DOMENICO BIANCHI TIM NOBLE & SUE WEBSTER Never before has matter been so ERNEST BILLGREN GLASSTRESS ATELIER TED NOTEN molded or “stressed,” brought to its DIKE BLAIR HANS OP DE BEECK BARBARA BLOOM RIGA ORLAN very limit by challenging the skills MONICA BONVICINI LUCY + JORGE ORTA of masters and their time-tested BOUDICCA JEAN MICHEL OTHONIEL techniques. LOUISE BOURGEOIS TONY OURSLER SERGIO BOVENGA ZAK OVÉ DANIEL BUREN MIMMO PALADINO PENNY BYRNE LUCA PANCRAZZI PEDRO CABRITA REIS CORNELIA PARKER LAWRENCE CARROLL GLASSTRESS ANNE PEABODY PINO CASTAGNA GIUSEPPE PENONE LORIS CECCHINI STOCKHOLM JAVIER PÉREZ CÉSAR ANTON PEVSNER HUSSEIN CHALAYAN JAUME PLENSA JAKE & DINOS CHAPMAN IVAN PLUSCH MAT CHIVERS BETTINA POUSTTCHI SOYEON CHO LAURE PROUVOST LEONARDO CIMOLIN CAROL PRUSA OLIVER CLEGG QIU ZHIJIE MAT COLLISHAW GLASSTRESS RANDOM INTERNATIONAL EGIDIO COSTANTINI KARIM RASHID PETAH COYNE NEW YORK ROBERT RAUSCHENBERG TONY CRAGG MAN RAY JOHAN CRETEN RECYCLE GROUP WIM DELVOYE ANTONIO RIELLO ERIN DICKSON BERNARDÌ ROIG SONG DONG UGO RONDINONE BART DORSA

MARIA ROOSEN 239 DR LAKRA MARIA GRAZIA ROSIN MARIE LOUISE EKMAN 238 GLASSTRESS SILVANO RUBINO EL ULTIMO GRITO TANJA SAETER OLAFUR ELIASSON BEIRUT ANDREA SALVADOR TRACEY EMIN JEFFREY SARMIENTO JAN FABRE YAŞAM ŞAŞMAZER GRAHAM FAGEN JUDITH SCHAECHTER LUCIO FONTANA THOMAS SCHÜTTE FABIO FORNASIER JOYCE SCOTT PAUL FRYER SANDRO SERGI GAIA FUGAZZA CONRAD SHAWCROSS ASLAN GAISUMOV GLASSTRESS 2013 WAEL SHAWKY JOSEPHA GASCH-MUCHE SHAN SHAN SHENG KENDELL GEERS WHITE LIGHT / WHITE HEAT SUDARSHAN SHETTY FRANCESCO GENNARI MEEKYOUNG SHIN ABDULNASSER GHAREM ANATOLY SHURAVLEV DAN GRAHAM KIKI SMITH LORIS GRÉAUD BENOÎT SOKAL CAI GUO-QIANG YUTAKA SONE DMITRY GUTOV MARINA SPADAFORA + JORDAN STONE CHARLOTTE GYLLENHAMMAR DOUG + MIKE STARN ZAHA HADID GLASSTRESS JANA STERBAK RICHARD HAMILTON HELEN STOREY MONA HATOUM LONDON STUDIO DRIFT XENIA HAUSNER SARAH SZE PAULA HAYES LINO TAGLIAPIETRA STUART HAYGARTH PASCALE MARTHINE TAYOU JAIME HAYON KANEUJI TEPPEI YUICHI HIGASHIONNA ZAK TIMAN CHARLOTTE HODES OLGA TREIVAS SIGGI HOFER ELMAR TRENKWALDER SHIRAZEH HOUSHIARY GLASSTRESS 2015 SHIH CHIEH HUANG PATRICIA URQUIOLA JOHN ISAACS GOTIKA BERTIL VALLIEN CAMERON JAMIE JOOST VAN BLEISWIJK LUKE JERRAM KIKI VAN EIJK MAGDALENA JETELOVA ATELIER VAN LIESHOUT LIU JIANHUA KOEN VANMECHELEN MIMMO JODICE ANNELIESE VARALDIEV MICHAEL JOO JOANA VASCONCELOS ILYA AND EMILIA KABAKOV BERNAR VENET MARYA KAZOUN GLASSTRESS URSULA VON RYDINGSVARD IYVONE KHOO SABINE WIEDENHOFER KOSTANTIN KHUDYAKOV BOCA RATON PHARRELL WILLIAMS MICHAEL KIENZER FRED WILSON MARTA KLONOWSKA ERWIN WURM NAWA KOHEI YIN XIUZHEN JOSEPH KOSUTH MARIYO YAGI JANNIS KOUNELLIS DUSTIN YELLIN BRIGITTE KOWANZ SHI YONG OLEG KULIK KIMIKO YOSHIDA RAIMUND KUMMER GLASSTRESS TOKUJIN YOSHIOKA HITOSHI KURIYAMA 2017 ZHAN WANG ALICJA KWADE ZHANG HUAN KAREN LAMONTE CHEN ZHEN 241 50 cm 4.5 cm each 4.5 × 26 cm × APFELBAUM × ANDERSON

648

50 AMRAM

29 × × × HILA Still Glass, 2015 / detail 208 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice ALICE Units, 2013 / detail Cristal Time 4.5 Factory Traveling Courtesy Anderson’s (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress POLLY , 2013 You Hat to My I Tip 12 London Nacht St. Stephen, Vienna, and Frith St. Gallery, Courtesy Galerie (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress (UK) Collection, London Wallace The 2013, London Exhibited at Glasstress Glasstress Anthology Glasstress 8.5 cm cm 8.5 × AL-KARIM

150 × HALIM Dust 12b, 2015/2017 220 Schenk, Cologne Brigitte Courtesy Galerie © Halim Al-Karim (IT) 2017, Venice Exhibited at GLASSTRESS 16.4 cm (with frame) 16.4 × 72 × QADIRI

4.4 cm / 72 4.4 AL

× ALBERS

49 × Courtesy the artist and Berengo Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS JOSEF (Imperial), ca. 1923 Kaiserlich 48 Bottrop Bottrop, Museum Quadrat Courtesy Josef Albers (IT) Venice 2009, Exhibited at Glasstress MONIRA Amorphous Solid Ghost, 2017 dimensions 7 elements, variable 60 cm 3.5 cm each 3.5 HADID - × 28 cm × AKSEL

AL ×

28 208 72 × × WEIWEI ×

DIANA Suburbs, 2015 The 255 Boesky Gallery, Courtesy Marianne New York 2015, Gotika Exhibited at Glasstress (IT) Venice AI , 2017 Yours Up 47 Studio Courtesy Ai Weiwei Studio and Berengo (IT) 2017, Venice Exhibited at GLASSTRESS ERDAĞ Disabled, 2015 Crescent 200 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton Glasstress 2017 Glasstress 165 cm × 250 cm diameter ABIDIN ABIDIN 255

× × WEIWEI

Courtesy Ai Weiwei Studio and Berengo Studio and Berengo Studio Courtesy Ai Weiwei (IT) 2017, Venice Exhibited at GLASSTRESS AI Blossom Chandelier, 2017 400 Courtesy Berengo Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress ADEL , 2015 / detail Reward The dimensions 5 elements, variable Courtesy the artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress Metamorphosis, 2015 165 ADEL 240 243 BEEKE

ANTHON Eiaculatum, 2009 dimensions variable artist Courtesy the (IT) 2011, Venice Exhibited at Glasstress 310 cm footprint × BANNER

BANERJEE

100 cm × RINA , 2013 Mythical Beast, a Mythical Blossom Was Darkest In the 300 approx. Studio Courtesy Berengo (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress FIONA (Neon Jet), 2013 Jastreb 67 London Gallery, artist and Frith Street Courtesy the (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress Glasstress Anthology Glasstress 10 cm each × 10 × BAALBAKI

16 (yellow), 16 (yellow), AYMAN Hedgehog , 2013 Czech 120 3 arms of London, Issa Projects, Courtesy Rose Beirut and Agial Gallery, Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White × 20 × 6 cm (blue) × 18 × 10 cm each 16 (pink), 20 × × 47 16 × 10), 2013 / detail × × BALKA

47 13 cm (pig), 25 BAALBAKI

× × 24 (138 × × 15 dimensions (installation) / variable Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress MIROSLAW 6 Studio and Berengo London, Cube, Courtesy White (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress AYMAN , 2015 Permissible) / the Forbidden / Hallal (the Haram 4 elements, 20 6 elements, 138 160 cm 79 cm AVERY 115 cm

× × BAALBAKI BAALBAKI

× 160 108 115 × × × AYMAN , 2013 Checkpoint Tires 82 London, Issa Projects, Courtesy Rose Beirut and Agial Gallery, Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White CHARLES Stand #1), 2017 Untitled (Ninth 165 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS AYMAN Frise: de Cheveaux , 2015 Apollinaire to Homage 250 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice Glasstress 2017 Glasstress 3 cm 5.5 cm × × 22 ARP

34.7 × × Collage n. 2 (glass object), 1964 Collage ed. 2 / 3 50 Collection, Private Courtesy Berengo Venice (IT) Venice 2009, Exhibited at Glasstress Stockholm 2011, Exhibited at Glasstress Stockholm (SE) JEAN ARMAN of Light Bulbs, Accumulation 1962 33.5 Collection, Bassano Courtesy Private (IT) Venice 2009, Exhibited at Glasstress ARAD

Courtesy Steinmetz Diamonds (IT) Venice Heat 2013, / White Light White Exhibited at Glasstress , 2013 / detail Train Last dimensions variable RON 242 245 BONVICINI

47 cm diameter × MONICA Bonded, 2017 84 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS BLOOM BLOOM 38 cm

× 150 × BARBARA II, 1972 / 2009 Flaubert Letters each unique ed. 2 / 3, dimensions variable Collection, Piacenza Courtesy Private (IT) Venice 2009, Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress BARBARA of Us One Each and Every Allan McCollum, from To II, 2010 in Harmony) (Together 70 Milan Cortese, Courtesy E. Righi Collection and Galleria Raffaella (IT) 2011, Venice Exhibited at Glasstress

Glasstress Anthology Glasstress BLOOM 5 cm

3 cm (flat frames) / 57 frames) 3 cm (flat 5 cm × BILLGREN

× × 110 cm (3D frames) 110 cm (3D 75 BLAIR 11

51 × × × × 51 BARBARA Gentleman, 2011 Balance: Blue 103 Milan, Cortese, Courtesy Galleria Raffaella Williams ltd., New York, Tracy Gisela Capitain, Cologne and Galerie (IT) 2011, Venice Exhibited at Glasstress ERNST , 2011 / detail View Mermaid’s 57 × Private artist and Berengo Courtesy the Collection, Venice (IT) 2011, Venice Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) DIKE , 2017 Windex 29 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 16 cm × BILLGREN

29 × ERNST Golden Coin, 1999 40 Collection, Private Courtesy Berengo Venice Riga 2011, Riga (LV) Exhibited at Glasstress 27 cm 53 cm × BILLGREN BILLGREN ×

93 90 , 2000 × × ERNST Fox 25 Venice Collection, Private Courtesy Berengo Riga 2011, Riga (LV) Exhibited at Glasstress ERNST , 2015 Duck Cathedral 70 Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress Glasstress 2017 Glasstress 50 cm × BERGMANS

3 cm (amber) 125 × × 6 PIEKE Bulb, 2009 Desk Light 125 - Design Bergmans Courtesy Pieke Virus, Amsterdam (IT) 2011, Venice Exhibited at Glasstress Beirut 2012, Exhibited at Glasstress Beirut (LB) × 3 cm each (white), 9 × 9 × BIANCHI

BERGMANS

Courtesy the artist and Berengo Private Collection, Venice Private artist and Berengo Courtesy the (IT) 2011, Venice Exhibited at Glasstress Stockholm 2011, Stockholm (SE) Exhibited at Glasstress DOMENICO Untitled, 2011 7 elements, 9 Courtesy Berengo Studio Courtesy Berengo (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress PIEKE Metamorphosis (series), 2010 dimensions variable 244 247 28 cm CHALAYAN 24 cm

× × 20 23 × × CÉSAR , 1992 Compression 37 Collection, Private Courtesy Berengo Venice (IT) Venice 2009, Exhibited at Glasstress HUSSEIN Monologue, 2013 Frozen 44 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) London 100 cm × LORIS CECCHINI CECCHINI LORIS , 2013 incoerente Del riposo 340 Studio Courtesy Berengo (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress (USA) Boca Raton 2017, Raton Boca Exhibited at Glasstress Glasstress Anthology Glasstress CARROLL

100 cm diameter 90 cm diameter CASTAGNA

× × PINO Bamboo, 2011 430 Collection, Private Courtesy Berengo Venice Stockholm 2011, Exhibited at Glasstress Stockholm (SE) LAWRENCE Untitled, 2009 ed. 1 / 5 100 Courtesy Buchmann Galerie, Private and Berengo Berlin / Lugano, Collection, Venice (IT) Venice 2009, Exhibited at Glasstress REIS

CABRITA

107 cm × PEDRO Macchia +1, 2013 95 Studio Courtesy Berengo (IT) Venice Heat 2013, / White Light White Exhibited at Glasstress 62 cm BOVENGA × BUREN

BYRNE

62 270 cm × × PENNY , 2015 Hurt Locker 190 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice SERGIO Spazio, 2009 ed. 1 / 6 55 cm diameter Collection, Private Courtesy Berengo Venice (IT) Venice 2009, Exhibited at Glasstress Riga 2011, Riga (LV) Exhibited at Glasstress 2012, Beirut Exhibited at Glasstress Beirut (LB) DANIEL Transparence Photo-souvenir: travail reflets avec vénitienne Istituto in situ, in Glasstress, ed Lettere di Scienze, Veneto Franchetti, Cavalli Arti-Palazzo , 1972 / 2009 Venice 611 Courtesy Buchmann Galerie, Berlin / Lugano (IT) Venice 2009, Exhibited at Glasstress Glasstress 2017 Glasstress 44.5 cm / 44.5 76.2 cm (vitrine) cm 76.2 × × BOURGEOIS

76.2 44.5 × × 50 cm (pedestal) 177.8 The Couple, 2002 / detail The 54.6 and Claudia Greve, Courtesy Karsten St. Moritz (IT) Venice 2009, Exhibited at Glasstress LOUISE BOUDICCA Outside, 2013 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) London × 50 × 8 cm, 100 × 8 × 12 cm, 11 BONVICINI

× 24 ×

Courtesy the artist, Max Hetzler Gallery, Berlin, artist, Max Hetzler Gallery, Courtesy the Venice Collection, Private and Berengo (IT) , Venice 2011 Exhibited at Glasstress Stockholm 2011, Stockholm (SE) Exhibited at Glasstress , 2011 / detail Tears 10 MONICA 246 249 250 cm × 110 COLLISHAW

× MAT , 2015 Slot Empire Jewel 200 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton COYNE COYNE

PETAH , 2015 Feminine The dimensions variable New York Lelong, Courtesy Galerie (IT) Venice 2015, Gotika Exhibited at Glasstress PETAH Cixi), 2015 Dowager Untitled #1398 (Empress 25 × 20 × 20 cm New York Lelong, Courtesy Galerie (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress Glasstress Anthology Glasstress 30 cm 50 cm × × 150 140 COLLISHAW COLLISHAW

× × MAT East of Eden, 2013 235 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White MAT Self, 2014 A Different 270 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton 26 cm diameter each / 26 cm diameter each × 26 cm (installation) × CLEGG

245 × OLIVER , 2013 A.R.T.I.F.I.C.I.A.L. 10 elements, 70 70 Studio Courtesy Berengo (IT) Venice Heat 2013, / White Light White Exhibited at Glasstress CIMOLIN

25 cm 150 cm 16 cm CHO ×

× × 150 CHIVERS 150

24 × × × LEONARDO , of Faith and Strength Fragility 2015 180 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice MAT M, 2013 ed. 2 / 2 27 Studio Courtesy Berengo 2013, London Exhibited at Glasstress (UK) London SOYEON In Bloom, 2009 110 Collection, Private Courtesy Berengo Venice (IT) Venice 2009, Exhibited at Glasstress Stockholm 2011, Exhibited at Glasstress Stockholm (SE) Beirut 2012, Exhibited at Glasstress Beirut (LB) Glasstress 2017 Glasstress CHAPMAN CHAPMAN

26.5 cm 26.5 16 cm DINOS × × & CHIVERS 36

24 × ×

M, 2013 ed. 1 / 2 27 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White MAT JAKE but in Glass, 2015 / Same The detail dimensions 5 elements, variable Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice JAKE & DINOS JAKE , 2017 Glass Bead Game The 60 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 248 251

50 cm × 85 137 cm DELVOYE DICKSON & JEFFREY DICKSON

× × ERIN Bed, 2015/2017 190 artist Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS ERIN SARMIENTO , 2014 Emotional Leak 125 cm diameter artists Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice WIM , 2001/2002 Melpomene 200 Ghent Studio, Delvoye Courtesy Wim 2015, Gotika Exhibited at Glasstress (IT) Venice Glasstress Anthology Glasstress 50 cm × CRAGG 85

DELVOYE 16 cm diameter

× × WIM Calliope, 2001/2002 200 Ghent Studio, Courtesy Wim Delvoye 2015, Gotika Exhibited at Glasstress (IT) Venice TONY Man, 2009 Visible 47 Berlin / Galerie, Courtesy Buchmann Lugano (IT) Venice 2009, Exhibited at Glasstress CRETEN

Courtesy Berengo Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress JOHAN Stones, 2015 dimensions 3 pedestals, variable 14 cm × CRAGG CRAGG

21 × TONY Untitled, 2017 84 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS TONY Untitled, 2015 30 cm diameter Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 11.5 cm 11.5 × 19 × 10 cm, 37.5 × CRAGG

15 × TONY , 2009 Sensory Devices 47 Berlin / Lugano Courtesy Buchmann Galerie, (IT) Venice 2009, Exhibited at Glasstress Glasstress 2017 Glasstress 22 cm 22 cm each 22 cm each × COYNE COYNE COYNE × ×

42 25 25 × × ×

Courtesy Galerie Lelong, New York Lelong, Courtesy Galerie (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress PETAH Blossom), 2015 Plum Untitled #1402 (Red 18 Courtesy Galerie Lelong, New York Lelong, Courtesy Galerie (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress PETAH , 2015 Slippers) Untitled #1401 (Golden Lotus 18 Courtesy Galerie Lelong, New York Lelong, Courtesy Galerie (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Raton Boca Exhibited at Glasstress Untitled #1400 (Chinese Medicine Doll), 2015 Medicine Untitled #1400 (Chinese 22 PETAH 250 253 29.7 cm 29.7 37 cm × × FABRE FABRE 31 39.5

× × JAN Holy Dung Beetle , 2017 Tree with Laurel 87 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS JAN of Delight, Garden the for Cross 2013 74 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) Collection, London Wallace The FABRE

JAN Gods in a Body-Landscape Greek , 2011 / detail Goden in Ean Lichaa-Landaschap) (Griekse dimensions variable Courtesy Angelos Bvba Collection, Antwerp (IT) 2011, Venice Exhibited at Glasstress Glasstress Anthology Glasstress GRITO

12 cm 48 cm EMIN ELIASSON

× × 26 105 × ULTIMO

× Courtesy Ivory Press Courtesy Ivory (IT) Venice 2015, Gotika Exhibited at Glasstress TRACEY , 2013 Docket 12.5 Studio Courtesy Berengo (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress (UK) Collection, London Wallace The 2013, London Exhibited at Glasstress EL detail , 2012 / Imaginary Venice dimensions variable Venice Projects, Courtesy Venice 2012, Beirut (LB) Beirut Exhibited at Glasstress OLAFUR A View Becomes a Window, 2013 75 EKMAN

LOUISE - MARIE , 2005/2007 Termometri / detail Hospital series) the (from ed. 6 100 cm (height), 90 to from 11 cm diameter Knapper Gallery, Courtesy Angelika Collection, Private Berengo Stockholm, and Venice (IT) Venice 2009, Exhibited at Glasstress EKMAN

260 cm GRITO

× LOUISE - 260 × ULTIMO

EL , 2011 Imaginary Architectures dimensions variable London Courtesy Spring Projects, (USA) 2012, New York New York Exhibited at Glasstress MARIE , 2007/2011 Family Transparent The 100 artist and Berengo Courtesy the Collection, Venice Private Stockholm 2011, Stockholm (SE) Exhibited at Glasstress Glasstress 2017 Glasstress 16 cm 22 cm × × 19 cm (eye), 19 cm (eye), 30 35 × × × 27 17 cm × 18 cm (stomach) / × × DONG

DORSA 164 cm diameter

24.5 32 × LAKRA

× ×

Untitled, 2017 4 elements, 42 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS DR (intestine), 36 (heart), 22 BART Glass #1, Crossroads Relic Series 9, 2015 93 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 47 dimensions (installation) variable SONG , 2015 Brother Glass Big 326 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton 252 255 MUCHE - 20 cm GASCH

× 125 × JOSEPHA , 2012 03.20.2012 125 artist Courtesy the Beirut 2012, Exhibited at Glasstress Beirut (LB) diameter

GAISUMOV

FRYER 60

× PAUL Nebula, 2012 160 artist Courtesy the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress ASLAN Untitled, 2015 / detail projection video dimensions (sculptures), variable artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress

Glasstress Anthology Glasstress EGIDIO

AND

FONTANA

FRYER

124.5 cm diameter cm 124.5 × PAUL Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) Collection, London Wallace The LUCIO COSTANTINI , 1965 Pannello 6 Collection, Bassano Courtesy Private (IT) Venice 2009, Exhibited at Glasstress , 2013 (1-9) Hydromorphs dimensions 9 elements, variable FORNASIER 200 cm

× FABIO Chandelier, 2007 Recycled 200 Venice Collection, Private Courtesy Berengo Riga 2011, Riga (LV) Exhibited at Glasstress 5 cm each 13 cm FAGEN FAGEN

× × 21 30 × × GRAHAM for Support, 2017 Scheme / detail 130 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS GRAHAM , 2017 for Andrea Scheme 37.5 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS FAGEN

16 cm × 18 × GRAHAM , 2017 for Silvano Scheme 30 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress 2017 Glasstress 43 cm 20 cm each / variable dimensions (installation) 20 cm each / variable × × 19 FABRE FABRE FABRE 44

× ×

Courtesy Berengo Private Collection, Venice Private Courtesy Berengo (IT) Venice 2009, Exhibited at Glasstress JAN Untitled, 2009 ed. 6 + 2 AP 22 Courtesy Berengo Private Collection, Venice Venice Collection, Private Courtesy Berengo (IT) Venice 2009, Exhibited at Glasstress Riga 2011, Riga (LV) Exhibited at Glasstress Stockholm 2011, Stockholm (SE) Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress JAN , 2008 Flying Rats and of Peace Doves Shitting 20 Courtesy Angelos Bvba Collection, Antwerp, Antwerp, Courtesy Angelos Bvba Collection, Venice Collection, Private and Berengo (IT), , Venice 2011 Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress Planet VII (Planets I-IX), 2011 Planet VII (Planets 58 cm (planet with stand) 32 cm diameter (glass), JAN 254 257 GUTOV

DMITRY Stones, 2013 / detail dimensions variable artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 280 cm × QIANG - GUTOV

280 × GUO

CAI , 2013 Full Body Scan: Next! dimensions variable artist Courtesy the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress DMITRY Gondola, 2011 1200 (3D rendering) Venice Collection, Private Courtesy Berengo Riga 2011, Riga (LV) Exhibited at Glasstress Glasstress Anthology Glasstress GRÉAUD

LORIS Perverse Some Again Once Refreshing Manipulations Were , 2017 World the dimensions variable (installation) artist and Gréaudstudio Courtesy the Gréaudstudio Gréaud, © Loris (IT) 2017, Venice Exhibited at GLASSTRESS 250 cm × GRÉAUD

550 GRAHAM

× LORIS , 2017 Notes Factory Unplayed The / each piece 60 cm diameter 30 to from (installation), performance dimensions variable artist and Gréaudstudio Courtesy the Gréaudstudio Gréaud, © Loris (IT) 2017, Venice Exhibited at GLASSTRESS DAN Sagitarian Girls, 2008 230 Minini, Milan Courtesy Francesca (IT) Venice 2009, Exhibited at Glasstress GHAREM

GENNARI GENNARI

4.5 cm 4.5 6.5 cm × × 90 cm diameter 114 471 × × × ABDULNASSER , 2017 (Moujaz) Stamp The 120 Inc. Studio Courtesy Gharem (IT) 2017, Venice Exhibited at GLASSTRESS FRANCESCO , 2013 Mattina La Al Mondo, Presentarmi Colori Per Tre 133 Studio Courtesy Berengo (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress FRANCESCO della terra rotazione come Autoritratto detail clarks), 2008 / scarpe (con loden e 7 Contemporanea, per l’ Studio Russo artist and Tucci Courtesy the Turin Pellice, Torre (IT) Venice 2009, Exhibited at Glasstress Glasstress 2017 Glasstress

MUCHE MUCHE - - GASCH GASCH 65 cm

× 65 200 cm diameter × × T. 30/12/07, 2007 T. 65 JOSEPHA New York Courtesy Heller Gallery, (IT) 2017, Venice Exhibited at GLASSTRESS JOSEPHA , 2004 11/06/04 T. 18 York New Gallery, Courtesy Heller (IT) 2017, Venice Exhibited at GLASSTRESS 3 cm GEERS ×

420 ×

Courtesy the artist, Galleria Continua, San Gimignano, Beijing, Le Moulins, Havana, Moulins, Havana, Beijing, Le artist, Galleria Continua, San Gimignano, Courtesy the Janssen, , Goodman Gallery, Rodolphe Galerie Gallery Stephen Friedman, London, Venice Collection, Private and Berengo , Cape Johannesburg, (IT) 2011, Venice Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress Cardiac Arrest VIII, 2011 Arrest Cardiac 310 KENDELL 256 259 204 cm × HAYGARTH

HIGASHIONNA

180 cm diameter 210 × × YUICHI or Jack and the Cesendello Beanstalk, 2015 300 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice STUART , 2013 Glass 220 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 43 cm (red), 43 cm (red), × 35 × 43 cm (yellow) 43 cm (green), 53 43 cm (green), × × HAYON

52 52 × × 55 JAIME Mecanica, 2011 Testa 55 Collection, Venice Private artist and Berengo Courtesy the (IT) 2011, Venice Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress Glasstress Anthology Glasstress 70 cm × HAYES HATOUM 35.6 cm diameter 35.6

HAUSNER

208 × × PAULA , Giant Terrarium Vertical 2008/2009 147.3 New York Courtesy R 20th Century Gallery, (IT) 2011, Venice Exhibited at Glasstress MONA , aux grenades morte Nature / detail 2006/2007 95 Continua, San Gimignano, Courtesy Galleria Private and Havana Moulins, Beijing, Le Collection, Bassano (IT) Venice 2009, Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) XENIA , 2017 temple/market dimensions 8 elements, variable Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 20.4 cm 20.4 HAMILTON 34 cm

× × HATOUM

34 63.5 × × MONA , 2012 Kapancik 64 / Paris Berlin Max Hetzler, Courtesy Galerie Light / White White Exhibited at Glasstress (IT) Venice Heat 2013, RICHARD Duchamp), (with Marcel Sieves 1971 / detail ed. 50 + 7 AP 52 Milan Marconi, Courtesy Fondazione (IT) Venice 2009, Exhibited at Glasstress 134 cm × HADID

420 × ZAHA Seoul Desk, 2008 86 London Architects, Hadid Courtesy Zaha (IT) , Venice 2011 Exhibited at Glasstress Glasstress 2017 Glasstress GYLLENHAMMAR GYLLENHAMMAR

10 cm (glass), 20 cm (girl) 28 cm (boy), 28 cm (boy), × × × 50 20 28 × × × 44 Wait, The Smallest of Us is The Wait, Dead, 2011 165 84 artist and Berengo Courtesy the Collection, Venice Private (IT) 2011, Venice Exhibited at Glasstress CHARLOTTE CHARLOTTE Hang, 2006/2011 dimensions, variable projection video Milan Segrate, Courtesy Collection Orsi, (IT) 2011, Venice Exhibited at Glasstress GYLLENHAMMAR

60 cm × 60 ×

Courtesy the artist and Berengo Private Collection, Venice Collection, Private artist and Berengo Courtesy the 2011, Stockholm (SE) Stockholm Exhibited at Glasstress , 2011 Look Don’t 18 CHARLOTTE 258 261 161 cm JAMIE

× 35 cm ISAACS ×

567 21 × × CAMERON II), 2017 (State Lividity 19 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS JOHN Begin, 2013 Age Golden the Let 150 Contemporary Courtesy Aeroplastics Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 30 cm × JERRAM

128 × LUKE E. Coli, 2010 24 Nul Collection, Belgium Courtesy De (IT) 2011, Venice Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress Glasstress Anthology Glasstress HOUSHIARY 115 cm

× 44 × SHIRAZEH Alar, 2017 145 Gallery, artist, Lisson Courtesy the Studio and Berengo (IT) 2017, Venice Exhibited at GLASSTRESS 40.2 cm each 40.2 HUANG

× HOUSHIARY

87.8 400 cm diameter CHIEH

× × Courtesy the artist Courtesy the (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress SHIH of Animated Illumination, 2013 Evolution Seductive 200 artist Courtesy the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress SHIRAZEH Flux, 2013 134.8 HODES HODES

6 cm 100 cm (installation) × × 30 × CHARLOTTE Floating, 2013 diameter each cm 20–30 / 250 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) Collection, London Wallace The CHARLOTTE In Pink, 2011 Revealed 35 London, Gallery, Courtesy Marlborough Collection, Venice Private and Berengo Stockholm 2011, Exhibited at Glasstress Stockholm (SE) 100 cm (base) × HOFER

SIGGI , 2017 Femminili Voci Tre Per Palazzi 100 75 cm (height), approx. Vienna Kainer, Meyer Courtesy Galerie (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress 2017 Glasstress HIGASHIONNA HIGASHIONNA

140 cm diameter 85 cm diameter × × YUICHI , 2010 Untitled (v.c.1) ed. 3 / 8 90 Collection, Venice, Private Courtesy Berengo Chiba Associates, Tokyo and Yumiko Riga 2011, Riga (LV) Exhibited at Glasstress YUICHI , 2011 Seta Chandelier 150 Johnson Courtesy Keith (IT) 2011, Venice Exhibited at Glasstress 26 cm × 25 cm / 40 × HODES

22 cm / 40 ×

Courtesy Marlborough Gallery, London, London, Gallery, Courtesy Marlborough Collection, Venice Private and Berengo (IT) Venice 2009, Exhibited at Glasstress CHARLOTTE I / II / III, 2009 Eurydice 40 260 263 JOO 40 cm

× 36 × MICHAEL , 2015 Pericardium 45 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 8 cm × 67 × 290 cm, 85 308 cm JOO JOO

× × 290 308 × × MICHAEL 2), 2013 Dissembled (Version 62 artist Courtesy the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress MICHAEL , 2011 Expanded Access 155 Collection, Venice Private artist and Berengo Courtesy the (IT) 2011, Venice Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress (USA) Boca Raton 2017, ss Boca Raton Exhibited at Glasstre Glasstress Anthology Glasstress 7 cm (installation) × 230 × 7 cm each / 32 × 60 cm (with frame) 28 × × 30 cm JOO

JODICE

× 40 cm / 60 130 JIANHUA

× × Courtesy the artist Courtesy the (IT) Venice 2009, Exhibited at Glasstress MICHAEL Denied, 2011 Access 85 Collection, Venice Private artist and Berengo Courtesy the Riga 2011, Riga (LV) Exhibited at Glasstress Stockholm 2011, Stockholm (SE) Exhibited at Glasstress LIU , 2011 / detail Water Shadow in the 11 elements, 32 Venice Collection, Private artist and Berengo Courtesy the (IT) , Venice 2011 Exhibited at Glasstress 2011, Stockholm (SE) Stockholm Exhibited at Glasstress (IT) Venice 2015, Gotika Exhibited at Glasstress MIMMO 4 / 3 / opera 2 / opera 1 / opera opera Composizione, 5, 1966 / detail opera unique 30 9.8 cm diameter 9.8 JERRAM

× LUKE , 2012 (small) Smallpox ed. 3 / 5 14.9 York New Gallery, Courtesy Heller 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton JETELOVA

50 cm × 510 JERRAM

× MAGDALENA (Des)Orientation, 2011 / detail 200 artist Courtesy the (IT) 2011, Venice Exhibited at Glasstress LUKE , 2012 Mutation (large) Untitled Future ed. 5 / 5 20 cm diameter New York Courtesy Heller Gallery, (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress Glasstress 2017 Glasstress JERRAM

18 cm diameter × LUKE Malaria, 2010 Spiky Large 50 artist Courtesy the 2012, New York Exhibited at Glasstress (USA) New York JERRAM JERRAM

Courtesy the artist Courtesy the (USA) 2012, New York New York Exhibited at Glasstress LUKE Flu, 2009 Swine Round 20 cm diameter Courtesy Heller Gallery, New York Courtesy Heller Gallery, (USA) Boca Raton 2017, Raton Boca Exhibited at Glasstress HIV (large, series 3), 2015 HIV (large, ed. AP cm diameter 20.9 LUKE 262 265 KHUDYAKOV

20 cm 82 cm KIENZER

× × 108 65 × × MICHAEL vol. 2, 2011 Off Order, 120 Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress KONSTANTIN , 2011 Mirror 108 Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress Riga 2011, Riga (LV) Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 37 cm × KLONOWSKA

80 × MARTA Bestiarium: Maki, 2011 124 Sanders Courtesy Susan and Fred (IT) 2011, Venice Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Glasstress Anthology Glasstress 40 cm × 20 × KHUDYAKOV

51 cm (installation) 400 cm × × KHOO

300 120 × × KONSTANTIN Supper, 2011 / detail Last 13 elements, 30 / 107 Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress IYVONE Lucidus, 2015 Ara 270 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 100 cm (installation), performance 100 cm (installation), × KAZOUN

250 × MARYA , 2011 / detail There Were They 400 artist Courtesy the (IT) , Venice 2011 Exhibited at Glasstress 620 cm (installation), 620 cm (installation), × KAZOUN KAZOUN

170 × MARYA , From Came He Habitat: Where 2009 200 performance artist Courtesy the (IT) Venice 2009, Exhibited at Glasstress 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton MARYA , 2003 / present Self-Portrait (installation), dimensions variable performance Venice Projects, Courtesy Venice Beirut 2012, Exhibited at Glasstress Beirut (LB) 25 cm KAZOUN ×

83 × MARYA Mountains, 2009 / detail The 120 artist Courtesy the Stockholm 2011, Stockholm (SE) Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Glasstress 2017 Glasstress KABAKOV

15 cm 2 cm KAZOUN ×

EMILIA × 83 35 & × × Frosty Grounds: The Beginning, The Grounds: Frosty 2009 120 artist Courtesy the Stockholm 2011, Exhibited at Glasstress Stockholm (SE) 2012, New York Exhibited at Glasstress (USA) New York MARYA ILYA , 2013 Eternal Emigrant The 51 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White KABAKOV

25 cm × 32 ×

Courtesy Berengo Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress Arch of Life, 2015 Arch 38 ILYA & EMILIA ILYA 264 267 23 cm KOWANZ 40 cm

× × KULIK KULIK

30 cm diameter 50 65 × × × BRIGITTE , 2017 Vo-lumen 50 Studio artist and Berengo Courtesy the (IT) , Venice 2017 Exhibited at GLASSTRESS OLEG Basta Carne, 2011 59 Collection, Venice Private artist and Berengo Courtesy the (IT) 2011, Venice Exhibited at Glasstress OLEG , 2011 Russia Into Deep 30 Collection, Venice Private artist and Berengo Courtesy the (IT) 2011, Venice Exhibited at Glasstress Glasstress Anthology Glasstress 0.8 cm KOSUTH ×

KOUNELLIS

70 cm 175 × × JANNIS titolo, 2005 Senza 100 Courtesy Galleria Fumagalli, Bergamo (IT) Venice 2009, Exhibited at Glasstress JOSEPH Number #19, 1991 No 175 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 20 cm (metal plaque) × KOSUTH

200 cm (glass), 5.8 × JOSEPH of Glass Sheet Meter Square Two Any , 1965 / detail Wall Any Against Lean to 200 Rome Studio, Courtesy Joseph Kosuth (IT) Venice 2009, Exhibited at Glasstress 75 cm 60 cm (fish) 35 cm (dog), 10 cm (shoe) × KLONOWSKA KLONOWSKA ×

× KOHEI × 93

80 63 82 cm (inkjet print on paper) 25 29.7 cm () 29.7 × × × × × × 72 10 NAWA Emu, 2008 Pixcell 116.5 Collection Courtesy Private / Japan Germany (IT) 2011, Venice Exhibited at Glasstress MARTA Fish, 2013 The 110 21 Studio Courtesy Berengo Light / White White Exhibited at Glasstress (IT) Venice Heat 2013, 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton MARTA Moor, 2011 of the Letter The / detail 54 Venice Collection, Private Courtesy Berengo Stockholm 2011, Exhibited at Glasstress Stockholm (SE) Beirut 2012, Exhibited at Glasstress Beirut (LB) Glasstress 2017 Glasstress 44 cm KLONOWSKA

× 58 × MARTA after Kitchen Still Life Large Bouillon, 2009 Michel De 94 artist and lorch+seidel Courtesy the Berlin contemporary, (IT) 2011, Venice Exhibited at Glasstress 35 cm KLONOWSKA KLONOWSKA

× 102 cm (inkjet print on canvas) 58 × ×

Courtesy the artist and lorch+seidel contemporary, Berlin contemporary, artist and lorch+seidel Courtesy the Riga 2011, Riga (LV) Exhibited at Glasstress MARTA Baltasar Carlos as a Hunter, 2003 Prince dimensions variable 191 Courtesy Cingoli Collection (IT) , Venice 2011 Exhibited at Glasstress della Santa Croce della reliquia Il miracolo Carpaccio, 2011 after Vittore 48 MARTA 266 269 17 cm LEROOY

× LEE

100 70 cm diameter LEMSALU

RIM

× × KRIS Now, 2015 Alone I Think We’re 180 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice THOMAS , 2014 Speaking in Tongues 120 Janssen Rodolphe Courtesy Galerie 2015, Gotika Exhibited at Glasstress (IT) Venice HYE detail , 2011 / Garden Strawberry dimensions variable (3D animation) Seoul Gallery, and Kukje artist Courtesy the (IT) 2011, Venice Exhibited at Glasstress Glasstress Anthology Glasstress 67 cm × LAMONTE

87 × KAREN 6, 2017 Nocturne 144 Desert Palm Art Projects, Courtesy Austin LaMonte © Karen (IT) 2017, Venice Exhibited at GLASSTRESS 84 cm LEE

× LAMONTE

124 RIM

× Courtesy Austin Art Projects, Palm Desert Palm Courtesy Austin Art Projects, LaMonte © Karen (IT) 2017, Venice Exhibited at GLASSTRESS HYE Spun, 2008 City Crystal dimensions variable (3D animation) Seoul Gallery, artist and Kukje Courtesy the (IT) Venice 2009, Exhibited at Glasstress Stockholm 2011, Stockholm (SE) Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress KAREN 1, 2015 Nocturne Reclining 56 172 cm 68 cm 65 cm × × × LAMONTE LAMONTE LAMONTE

216 69 65 × × × KAREN 3, 2016 Nocturne 152 Desert Palm Courtesy Austin Art Projects, LaMonte © Karen (IT) 2017, Venice Exhibited at GLASSTRESS KAREN Cumulus, 2017 220 Desert Palm Art Projects, Courtesy Austin LaMonte © Karen (IT) 2017, Venice Exhibited at GLASSTRESS KAREN 1, 2017 Nocturne 145 Desert Palm Courtesy Austin Art Projects, LaMonte © Karen (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress 2017 Glasstress 80 cm (glass eyes), eyes), 80 cm (glass KUMMER

× KWADE

240 cm (mirror sheets) 240 cm (mirror 80 × × Significant Contact, 2015 dimensions variable New York Courtesy 303 Gallery, 2015, Gotika Exhibited at Glasstress (IT) Venice ALICJA RAIMUND Bias, 2007 Hindsight 205 300 artist Courtesy the (IT) Venice 2009, Exhibited at Glasstress KURIYAMA

Courtesy Venice Projects, Venice Projects, Courtesy Venice (IT) 2011, Venice Exhibited at Glasstress HITOSHI , 2010 Life-reduction dimensions variable 268 271 50 cm (big alien), 50 cm (big LUNARDON LUNARDON LUNARDON

20 cm 35 cm (small alien) 35 cm (small × × × 70 35 45 × × × MASSIMO Geonauta, 2012 60 Venice Projects, Courtesy Venice Beirut 2012, Exhibited at Glasstress Beirut (LB) MASSIMO , 2011/2012 / acrobatico Universo detail dimensions variable Collection, Private Courtesy Berengo Venice Stockholm 2011, Exhibited at Glasstress Stockholm (SE) Beirut 2012, Exhibited at Glasstress Beirut (LB) MASSIMO , 2011 Everywhere As Is, 300 74 Studio Courtesy Berengo (IT) 2011, Venice Exhibited at Glasstress Glasstress Anthology Glasstress LUCIELLE

30 cm × 180 cm LOCKE 35

× × DELPHINE for Life, 2012 Template 230 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White HEW Soldier, 2013 Little Mummy’s 90 artist and Hales Gallery, Courtesy the London Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) Collection, London Wallace The 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton 228 cm diameter LIPMAN

× BETH Bride, 2010 305 New York Gallery, Oliver Courtesy Claire (USA) 2012, New York New York Exhibited at Glasstress 70 cm × LIBERTÍNY LIBERTÍNY

70 38 cm diameter, 38 cm diameter, × × TOMÁŠ , 2011 Seed of Narcissus The / detail 100 projection video artist Courtesy the Venice Projects, and Venice (IT) 2011, Venice Exhibited at Glasstress 2012, New York Exhibited at Glasstress (USA) New York TOMÁŠ Sentinel, 2015 The 208 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 45 cm × LIBERTÍNY

122 × TOMÁŠ Lightness, 2010 Unbearable The 250 artist Courtesy the Beirut 2012, Beirut (LB) Exhibited at Glasstress (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress Glasstress 2017 Glasstress 37 cm (base) LEROOY 30 cm (sculpture), 30 cm (sculpture),

LIBERTÍNY

× × 80 cm diameter 37 65 × × × , 2012 Agreement The 160 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice TOMÁŠ 101 THOMAS Mind, 2014 On My Were You 55 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 1.5 cm (glass and felt) 1.5 × 100 × 14 cm (vase) / 100 14 cm (vase) LIBERTÍNY

× 26 ×

Courtesy the artist and Courtesy the Collection, Venice Private Berengo Riga 2011, Riga (LV) Exhibited at Glasstress TOMÁŠ Us, 2011 Between Years the Always 30 270 273

GAIA and MCVEIGH 42 cm MIRZA

× 90 cm diameter 64 × × WHITNEY , 2013 away’ a breath ‘solitude 56 artist Courtesy the Light / White White Exhibited at Glasstress (IT) Venice Heat 2013, HAROON FUGAZZA Shrine, 2017 Vegetable 190 Studio artists and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 225 cm × MCCGWIRE

225 × KATE , 2015 Siren 55 Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Raton Boca Exhibited at Glasstress Glasstress Anthology Glasstress 60 cm MAS

× 36 (Tree 3), 36 (Tree 62 × × 32 cm diameter (Tree 5), 32 cm diameter (Tree 45 35 (Tree 2) 35 (Tree × OKSANA , 2013 Prayer Quantum 60 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White × × 50 × 26 cm (Tree 4), 94 26 cm (Tree × 46 × 85 cm × MCCGWIRE MCCARTHY 40 cm diameter (Tree 6), 76 40 cm diameter (Tree

35 cm diameter (Tree 1 [Paris]), 110 1 [Paris]), 35 cm diameter (Tree 114 × × × / variable dimensions (installation) / variable 80 102 Angeles artist and Hauser & Wirth, Los Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS KATE , 2015 Maelstrom 30 Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress PAUL , 2017 Glass Trees 6 elements, 97 MARANGONI

MARTIN

3.5 cm / height cm 3.5 40 cm × × FEDERICA , 2002 Thread The 40 70 cm (neon) Collection, Private Courtesy Berengo Venice (IT) Venice 2009, Exhibited at Glasstress JASON (Azul), 2013 Chimera 50 London Courtesy Lisson Gallery, Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 18 cm each / variable dimensions (installation) 18 cm each / variable × 23 × MARTIN

28 × KRIS Noi, 2013 Siamo 23 Studio Courtesy Berengo (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress Glasstress 2017 Glasstress

KALNS

105 cm MALINA

× 50 cm diameter each 236 KRISTAPS LÜTHI

× × AND Me, 2011 Forget Don’t 150 Collection, Private Courtesy Berengo Venice Riga 2011, Riga (LV) Exhibited at Glasstress SARMITE URS Art Is The from XXI Ex Voto series, 2010 / detail Life Better 174 Bassano Gallery, Courtesy Artbug (IT) 2011, Venice Exhibited at Glasstress MACKIE

4 cm × 4 ×

Courtesy All Visual Arts, London (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress (UK) Collection, London Wallace The 2013, London Exhibited at Glasstress , 2013 PEDM 8 ALASTAIR 272 275 ORTA ORTA

54 cm × JORGE JORGE 160 cm diameter + + 135 × × LUCY , 2015 Arboreal 220 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton LUCY Amazonia: Perpetual Of Life, 2013 Tree 55 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) Collection, London Wallace The 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton 2 cm each × 57 × ORLAN , 2009 of Our Society Portrait-Stress Miroirs 87 Collection, Venice Private Courtesy Berengo (IT) Venice 2009, Exhibited at Glasstress 2011, Riga (LV) Riga Exhibited at Glasstress

Glasstress Anthology Glasstress WEBSTER

SUE NOTEN

22.9 cm overall 22.9 & × TED

210 cm / variable 210 cm / variable 22.9 NOBLE

× × TIM Studio Courtesy Berengo Light / White White Exhibited at Glasstress (IT) Venice Heat 2013, 2013, London Exhibited at Glasstress (UK) London ATELIER Beautiful You Be To Want If You Suffer, 2011 To Have 150 dimensions (installation) Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress , 2013 Glass Narcissus 149 BEECK

95 cm DE

× OP

95 × HANS , 2015 / detail Vanitas Frozen The 145 Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress 50 cm × 250 # 2, 2011 × VP NAHAS NAHAS

NABIL Untitled Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress 2012, New York Exhibited at Glasstress (USA) New York NABIL , 2012 Stars dimensions variable artist Courtesy the Beirut 2012, Exhibited at Glasstress Beirut (LB) (installation) 5 elements, 50 cm diameter each / 50 # 1, 2011 108 cm VP × NAHAS

100 × NABIL Untitled Venice Projects, artist and Venice Courtesy the (IT) 2011, Venice Exhibited at Glasstress 56 Glasstress 2017 Glasstress 28.5 cm 28.5 × MONDINO 28

52 cm diameter MUNIZ ×

× Untitled, 2010 108 Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress Stockholm 2011, Exhibited at Glasstress Stockholm (SE) 2012, New York Exhibited at Glasstress (USA) New York 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton VIK ALDO Jongleur, 2013 87.5 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) London MUNIZ

Courtesy the artist and Berengo Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS VIK Individuals, 2017 50 cm 30 to 170 cm each (height), from 107 to 21 elements, from dimensions (installation) each (diameter) / variable 274 277 7.6 cm 7.6 × PEABODY

182 × ANNE , 2011 Alluvion Myth 213 Venice Projects, Courtesy Venice (IT) 2011, Venice Exhibited at Glasstress

PARKER

533.4 cm 533.4 71 cm × × PEABODY

36 213.6 × × , 2013 Decoy 72 CORNELIA London Gallery, and Frith Street Venice, Studio, artist, Berengo Courtesy of the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress (UK) London 2013, London Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress ANNE , 2004 Sidewalk My 1 Venice Projects, Courtesy Venice (IT) Venice 2009, Exhibited at Glasstress × Glasstress Anthology Glasstress PARKER

28 cm (structure), 14 28 cm (structure), 8 cm PALADINO

× × PANCRAZZI 71

60 122 cm (base) × × × CORNELIA Black Window, 2013 83 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White MIMMO Monolite, 2015 184 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice LUCA Scala, 2008 / detail 350 cm (height) Courtesy Galleria Continua, San Gimignano, Moulins, Havana Beijing, Le (IT) Venice 2009, Exhibited at Glasstress 70 160 cm 8.5 cm × PALADINO

× OURSLER 190

94 × × MIMMO , 2013 Il Rabdomante 208 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White TONY 2017 M*orb•, 137 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS OVÉ

ZAK , 2013 Tunnel Time dimensions variable London Gallery, artist and Vigo Courtesy the (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress Glasstress 2017 Glasstress OTHONIEL

30.5 cm / variable cm / variable 30.5 × MICHEL 30.5 OURSLER

- × TONY , 1999 Negative Double Blue 48.2 dimensions (installation) artist Courtesy the (IT) 2011, Venice Exhibited at Glasstress 2012, New York Exhibited at Glasstress (USA) New York JEAN , 2009 Ricochet Rouge unique 110 cm diameter AG, Greve Karsten Courtesy Galerie St. Moritz (IT) Venice 2009, Exhibited at Glasstress 81 cm × OURSLER

162 ×

Courtesy the artist and FAMA Gallery, Verona Verona Gallery, artist and FAMA Courtesy the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress TONY , 2012 Color Action False 129 276 279 40 cm PLENSA

× 47 × JAUME Head, 2017 Misty 57 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 90 cm × 19 cm each / variable dimensions (installation) 19 cm each / variable PLENSA PLENSA

× 250 6 × × JAUME detail Glassman II, 2004 / 30 Paris Lelong, artist and Galerie Courtesy the (IT) , Venice 2011 Exhibited at Glasstress JAUME Hands, 2011 Laura’s ed. 25 10 Collection, Venice Private and Berengo Paris, Lelong, Courtesy Galerie (IT) 2011, Venice Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress Glasstress Anthology Glasstress 37 cm 40 cm × PLENSA PLENSA

× 30 40 × × JAUME Duna, 2015 100 Paris, Lelong, Courtesy Galerie Studio and Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice JAUME , 2010 Dreams Frozen Cristina’s ed. 8 52 and Paris, Lelong, Courtesy Galerie Collection, Venice Private Berengo (IT) 2011, Venice Exhibited at Glasstress Stockholm 2011, Exhibited at Glasstress Stockholm (SE) 2012, New York Exhibited at Glasstress (USA) New York 1 cm each text / variable dimensions (installation) dimensions / variable 1 cm each text × PLENSA

182 × JAUME , 2013 in Venice Blake 242 Studio and Berengo Paris, Lelong, Courtesy Galerie (IT) Venice Heat 2013, / White Light White Exhibited at Glasstress PEVSNER PÉREZ

33 cm diameter × ANTON ancorata Croce , 1933 ancrée) Croix (La cm (diagonal length) 84.6 Guggenheim Collection, Courtesy Peggy Venice (IT) Venice 2009, Exhibited at Glasstress JAVIER , 2011 Corona 12 Projects, artist and Venice Courtesy the Venice (IT) 2011, Venice Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 68 cm PÉREZ

× 64 × JAVIER Nocturno, 2013 El Viaje 15 Venice Projects, artist and Venice Courtesy the (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress (UK) London 2013, London Exhibited at Glasstress Glasstress 2017 Glasstress PEABODY

10.1 cm 10.1 × ANNE Dog, 2011 Owl With 7.6 Venice Projects, Courtesy Venice 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 300 cm / variable dimensions (installation) 300 cm / variable 150 cm / dimensions determined by the setting the 150 cm / dimensions determined by PENONE

× × PÉREZ

235 300 × ×

Courtesy Venice Projects, Venice Projects, Courtesy Venice Riga 2011, Riga (LV) Glasstress (IT) / Exhibited at 2011, Venice Exhibited at Glasstress at / ExhibitedGlasstress (USA) 2012, New York New York Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Beirut 2012, Beirut (LB) / Exhibited at Glasstress JAVIER , 2011 Carroña 120 thermoformed glass element realized by Cirva - Centre international - Centre Cirva by glass element realized thermoformed et les arts plastiques, Marseille verre sur le recherche de 2009 Venice, Franchetti, Cavalli Palazzo installation view, (IT) Venice 2009, Exhibited at Glasstress Unghia e candele, 1994 Unghia e 30 glass, wax thermoformed GIUSEPPE 278 281 61 cm × RAUSCHENBERG

71.1 × ROBERT , 1997 Untitled [Glass Tires] 76.2 Rauschenberg, of Robert Courtesy Estate New York (IT) Venice 2009, Exhibited at Glasstress 44 cm × INTERNATIONAL

RASHID

40.4 × RANDOM Study (Glass) / I, 2017 Swarm 99.2 Schenk, Cologne Brigitte and Galerie New York, Gallery, Courtesy Pace (IT) , Venice 2017 Exhibited at GLASSTRESS KARIM , 2013 Glaskape 360 x 240 cm dimensions (height), approx. variable Studio Courtesy Berengo (IT) Venice 2013, Heat Light / White White Exhibited at Glasstress Glasstress Anthology Glasstress 47 cm PRUSA PROUVOST

×

Drinking Fountain Drinking Fountain 72 × LAURE Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS CAROL , 2016 Action Spooky cm diameter each 3 elements, 40.6 artist Courtesy the 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton (For Grandad to Come Back), Come to Grandad (For 2017 80 GDM 285 cm × 285 ZHIJIE

× QIU , 2015 on Their Way Animals Are Mythical More Even 235 Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress PROUVOST PROUVOST

40 cm (watercolor) 40 cm (watercolor) 50 cm diameter (sculpture), 50 cm diameter (sculpture), 25 cm diameter (sculpture), 25 cm diameter (sculpture), × × × × 51.5 LAURE 2 Cooling System , 2017 Global Warming) (For 183 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS LAURE 1 Cooling System , 2017 Global Warming) (For 237 51.5 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 220 cm × POUSTTCHI

200 × BETTINA , 2009 Cleared 150 Berlin / Lugano Courtesy Buchmann Galerie, (IT) Venice 2009, Exhibited at Glasstress Glasstress 2017 Glasstress 70 cm × PLENSA

120 PLUSCH

× IVAN Glass Malaise, 2015 160 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice JAUME , 2013 Rui Rui 700 cm (height) and Paris, Lelong, Courtesy Galerie Studio Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 7 cm × PLUSCH

90 ×

Courtesy the artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress IVAN of Fullness, 2015 Illusion of Disappearance 68 280 283 ROIG

35 cm × 40 × BERNARDÍ Head, 2011 Glass St. John’s 50 New York, Gallery, Oliver Courtesy Claire Collection, Venice Private and Berengo (IT) 2011, Venice Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 5 cm each / variable dimensions (installation) 5 cm each / variable × 25 × 53 cm × ROOSEN

RONDINONE 270

× UGO , 2017 an ocean away 12 elements, 16.5 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS MARIA , 2009/2011 Tree Washed 45 Amsterdam Wetters, and Gallery Fons and Thierry Prevot Courtesy Collection Lise (IT) 2011, Venice Exhibited at Glasstress Glasstress Anthology Glasstress 20 cm × RIELLO

ANTONIO / Ashes, 2009/2010 Ashes to detail 35 29 elements, / variable diameter each (installation) dimensions Collection, Private Courtesy Berengo Venice (IT) , Venice 2011 Exhibited at Glasstress 2017, Raton Boca Exhibited at Glasstress (USA) Boca Raton ROIG

RIELLO

Courtesy Berengo Private Collection, Venice Collection, Private Courtesy Berengo Beirut 2012, Beirut (LB) Exhibited at Glasstress BERNARDÍ , 2011 / detail di San Giovanni teste due le e Il diavolo dimensions variable New York Gallery, Oliver Courtesy Claire (IT) 2011, Venice Exhibited at Glasstress ANTONIO , 2012 Hoard Murano dimensions variable 600 cm GROUP GROUP GROUP

× 52 cm diameter 52 cm diameter, 154 , 2011 × × × performance RECYCLE Way 29 Projects, artist, Venice Courtesy the Moscow Gallery, and Triumph Venice, (IT) 2011, Venice Exhibited at Glasstress RECYCLE I, 2015 Stream 50 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice RECYCLE II, 2015 Stream 50 projection video artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice Glasstress 2017 Glasstress 30 cm, × 76 × GROUP GROUP 30 cm 30 cm, 30

4 cm × × RAY ×

96 116 11 × × ×

(from the Future Future the , 2013 (from “Column” series) / detail Archeology 30 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White RECYCLE 30 RECYCLE , 2013 Breath Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) London MAN , 1963 Box Pandora’s 4 Milan Marconi, Courtesy Fondazione (IT) Venice 2009, Exhibited at Glasstress 282 285 65 cm 26 cm × ŞAŞMAZER ŞAŞMAZER SCHAECHTER

× 18 cm diameter 160 38 × × × YAŞAM , 2015 Unburdened 50 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice JUDITH , 2012 Drowning 30.5 New York Gallery, Oliver Courtesy Claire 2012, New York Exhibited at Glasstress (USA) New York YAŞAM , 2015 Reason Of Fear 181 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice Glasstress Anthology Glasstress 15 cm / variable 15 cm / variable 3 cm × SALVADOR ×

SÆTER

300 160 × × dimensions (installation) dimensions ANDREA , 2011 / detail n.3 d’Arco Giovanna 150 Collection, Private Courtesy Berengo Venice Riga 2011, Riga (LV) Exhibited at Glasstress TANJA , 2011 / detail Transformers 350 artist Courtesy the (IT) 2011, Venice Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 3 cm × SALVADOR

131.5 × Courtesy the artist and Berengo Private Collection, Venice Private artist and Berengo Courtesy the (IT) 2011, Venice Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress ANDREA n. 1, 2011 / detail d’Arco Giovanna 150 250 cm / variable 250 cm / variable 100 cm × RUBINO RUBINO ×

150 400 × × dimensions (installation) SILVANO Scala illuminante, 2010 / detail 420 Private artist and Berengo Courtesy the Collection, Venice Beirut 2012, Exhibited at Glasstress Beirut (LB) SILVANO , 2009 / sottrattiva Addizione detail ed. 1 / 3 80 Private artist and Berengo Courtesy the Collection, Venice (IT) Venice 2009, Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 2012, New York Exhibited at Glasstress (USA) New York 2012, Beirut Exhibited at Glasstress Beirut (LB) RUBINO

SILVANO / detail ear of a deaf, 2009/2010 the Death announced to dimensions variable Collection, Venice Private artist and Berengo Courtesy the Riga 2011, Riga (LV) Exhibited at Glasstress Glasstress 2017 Glasstress ROSIN

GRAZIA

55 cm diameter × Trifori e Bifori, 2015 e Trifori 150 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice MARIA

ROSIN ROSIN

150 cm 20 cm × GRAZIA GRAZIA ×

235 50 × ×

Gothic Icon, 2015 Gothic 30 Courtesy the artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress MARIA Courtesy the artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Raton Boca Exhibited at Glasstress , 2015 Meateaters Gothik Mechanical 217 MARIA 284 287 SCOTT SCOTT

25.5 cm 25.5 19.5 cm (lace beading) cm (lace 19.5 19 cm (glass) / 19 cm (glass) × × JANE JANE ×

19 16.5 19.5 × × × JOYCE 1, 2012 Mammy Water 89 Gallery, Contemporary Courtesy Goya Venice Studio, and Berengo Baltimore, 2012, New York Exhibited at Glasstress (USA) New York JOYCE , 2012 2 Milk Mammy 48 72 Gallery, Contemporary Courtesy Goya Baltimore 2012, Beirut Exhibited at Glasstress Beirut (LB) 18 cm SERGI

× 46 × SANDRO Uccello, 1970 35 Collection, Venice Private Courtesy Berengo (IT) Venice 2009, Exhibited at Glasstress Glasstress Anthology Glasstress 71 cm 71 cm × × SCOTT SCOTT SCOTT 101.5 101.5

27 cm × × × JANE JANE JANE

30.5 × JOYCE 1, 2012 Milk Mammy 113 Gallery, Contemporary Courtesy Goya Venice Studio, and Berengo Baltimore, 2012, New York Exhibited at Glasstress (USA) New York JOYCE Buddha (Earth), 2013 152 approx. Baltimore Contemporary, Courtesy Goya Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White JOYCE , 2013 & Water) Buddha (Fire 152 approx. Baltimore Contemporary, Courtesy Goya Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 90 cm each SCHÜTTE 30 cm (yellow head) 30 cm (yellow

× × 120 25 × × THOMAS Head, 2011 Berengo 49 Private artist and Berengo Courtesy the Collection, Venice 2011, Stockholm Exhibited at Glasstress Stockholm (SE) SCHÜTTE SCHÜTTE

THOMAS Geister, 2011 dimensions 6 elements, variable Collection, Venice Private Courtesy Berengo Beirut 2012, Beirut (LB) Exhibited at Glasstress (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress THOMAS , 2017 Gartenzwerge 7 elements / 3 individual series 38 cm 16 to 60 cm each (height), from 27 to glass components from 75 tables approx. each (diameter), wooden Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress 2017 Glasstress 30 cm 27 cm (red head) 27 cm (red 27 cm (green head), 27 cm (green SCHÜTTE SCHINWALD

× × × 25 30 30 × × × 50 Berengo Head, 2011 Berengo 45 Private artist and Berengo Courtesy the Collection, Venice (IT) 2011, Venice Exhibited at Glasstress 2012, New York Exhibited at Glasstress (USA) New York 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton THOMAS MARKUS Lilly, 2017 150 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 16 cm SCHAECHTER

× 118 ×

Courtesy Claire Oliver Gallery, New York Gallery, Oliver Courtesy Claire (IT) , Venice 2011 Exhibited at Glasstress , 2010 Nature 79 JUDITH 286 289 23.8 cm, 23.8 × 26.4 × 26.4 cm 26.4 × SONE

193 cm 25.5 × SMITH ×

YUTAKA Has A Snowflake Every , / N.35 N.30 Shape Different 2010 2 elements, 14.3 24.4 artist and David Zwirner, Courtesy the New York (IT) 2011, Venice Exhibited at Glasstress 2012, New York Exhibited at Glasstress (USA) New York KIKI , 2011 Way Milky 182.9 Gallery, Pace Courtesy The / New York London (IT) 2011, Venice Exhibited at Glasstress 150 cm × SOKAL

150 × BENOÎT 3, 2015 / detail Land of the Off to 100 Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress Glasstress Anthology Glasstress 8.9 cm each / cm 8.9 × 12.1 × 7.6 cm each / 7.6 × 5.7 cm to 8.3 cm to 5.7 7.6 × × 7.6 × SHURAVLEV

SMITH SMITH

variable dimensions (installation) variable / New York London Gallery, Pace artist and The Collection of the (IT) Venice 2009, Exhibited at Glasstress KIKI , 1999 Frogs 63 elements, 7.6 (installation) dimensions variable / New York London Gallery, Pace Courtesy The (USA) 2012, New York New York Exhibited at Glasstress ANATOLY Viewing Deception, 2011 35 cm diameter (lenses) 30 cm diameter, 25 cm diameter, Venice Projects, and Venice Beijing, Lucerne, Gallery, Meile Courtesy Urs (IT) , Venice 2011 Exhibited at Glasstress 2011, Riga (LV) Riga Exhibited at Glasstress KIKI Black Eggs, 1998 98 eggs, 4.4 SHIN

1 cm × 15 × MEEKYOUNG , 2013 Translation Above: 95 Studio artist and Berengo Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 23 (soap) × 30 ×

SHIN SHETTY

220 cm 23 cm (glass), 55 × × 45 30 × × MEEKYOUNG Studio artist and Berengo Courtesy the (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress (UK) Collection, London Wallace The 2013, London Exhibited at Glasstress SUDARSHAN , 2013 in the A Walk 455 Vienna Krinzinger, Courtesy Galerie (IT) Venice Heat 2013, / White Light White Exhibited at Glasstress Ghost Series, 2013 60 Glasstress 2017 Glasstress , 2007 771 BC SHENG 1046– 100 cm

128 cm × SHAWCROSS × BC

SHAWKY SHAN 450

208 × ×

Abacus-Western Zhou Abacus-Western Dynasty, Collection, Private Katz Courtesy Joanne Florida Stockholm 2011, Exhibited at Glasstress Stockholm (SE) SHAN WAEL Crusades: Cabaret , 2014 of Karbala Secrets The / 50 × 15 cm each marionette dimensions (installation) variable artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton Courtesy the artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White CONRAD Studies Perimeter 2 - Arrangement (Icosahedron) Glass, 2013 Yellow 180 230 288 291 13 (with frame) × 57 TIMAN

× ZAK , 2013 Rhapsody in Red 130 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White TEPPEI TEPPEI

500 cm × KANEUJI , 2015 / detail and Fog Smoke dimensions 5 elements, variable Collection, Venice Private Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress KANEUJI , 2015 Discharge White 320 Venice Collection, Private Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress Glasstress Anthology Glasstress TAYOU

MARTHINE

160 cm diameter × PASCALE Coloniale, 2015 Colonne 210 Courtesy Galleria Continua, San Gimignano, and Berengo Moulins, Havana, Beijing, Le Collection, Venice Private 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton 200 cm (installation) BANIONIS

× TAGLIAPIETRA 200

× Courtesy the artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress LINO , 2009 Attesa 45 artist Courtesy the (IT) Venice 2009, Exhibited at Glasstress TANATOS , 2009/2015 Forces Heavenly installation video DRIFT

SZE

22 cm diameter × SARAH Cotissi, 2017 / detail dimensions variable Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS STUDIO II, Part Obsidian Project The 2015 42 Janssen Rodolphe Courtesy Galerie 2015, Gotika Exhibited at Glasstress (IT) Venice 1200 cm × DRIFT

300 × STUDIO In 20 Steps, 2015 400 artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress Glasstress 2017 Glasstress STARN

21 cm DOUG STOREY ×

+ 21 40 cm diameter × × The Dress of Glass and Flame, Dress The 2013 39 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) London HELEN MIKE Untitled, 2011 55 Collection, Private Courtesy Berengo Venice 2012, New York Exhibited at Glasstress (USA) New York 14 cm diameter × STERBAK

28 ×

Courtesy Galleria Raffaella Cortese, Milan, and Galeria Toni Tàpies, Barcelona Toni Milan, and Galeria Cortese, Courtesy Galleria Raffaella (IT) Venice 2009, Exhibited at Glasstress JANA Olfactif, 1995 Portrait Transpiration: 16 290 293

VAN

JOOST & 54 cm (mannequin), 54 cm (mannequin), EIJK EIJK EIJK 38 cm (bucket), 38 cm (bucket),

× × 140 cm diameter 110 33 cm diameter (basket) 33 cm diameter 70 VAN VAN VAN

× × × × KIKI Think! Drink! Eat! Fun! Rest! , 2010 Love! Dream! dimensions 7 elements, variable Venice Projects, Courtesy Venice Beirut 2012, Exhibited at Glasstress Beirut (LB) KIKI BLEISWIJK Dining Stories Chandelier, 2013 280 artist Courtesy the Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White KIKI Fruit Red / Harvest Allotment Sowing Scarecrow, Bucket, , 2011 Time-Pots 199 37 63 Venice Projects, Courtesy Venice (IT) , Venice 2011 Exhibited at Glasstress Glasstress Anthology Glasstress BLEISWIJK

VAN

JOOST Glass Stacks, 2010 dimensions 6 elements, variable Venice Projects, Courtesy Venice Beirut 2012, Exhibited at Glasstress Beirut (LB) BLEISWIJK BLEISWIJK

75 cm 80 cm × × VAN VAN

120 180 × × Courtesy Venice Projects, Venice Projects, Courtesy Venice (IT) 2011, Venice Exhibited at Glasstress JOOST , 2011 Trestles Duty / Heavy Factory Fragile 98 Venice Projects, Courtesy Venice (IT) , Venice 2011 Exhibited at Glasstress JOOST , 2011 / Industry Pallet Factory Fragile 50 180 cm (installation) 10.5 cm 10.5 URQUIOLA 23 cm ×

× VALLIEN VALLIEN ×

65 430 38 × × × BERTIL Head, 2009 Resting 28 Boda AB, Orrefors Kosta Courtesy Orrefors Stockholm 2011, Stockholm (SE) Exhibited at Glasstress BERTIL Hidden, 1987 15.5 Boda AB, Orrefors Kosta Courtesy Orrefors Stockholm 2011, Stockholm (SE) Exhibited at Glasstress PATRICIA All Ambiq, 2011 150 Collection, Venice Private Milan, and Berengo Urquiola, Courtesy Studio (IT) , Venice 2011 Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Glasstress 2017 Glasstress 298, 2015 76 cm 76 WVE × TRENKWALDER

102 2015 × ELMAR Collection, Private Courtesy Berengo Venice 2015, Gotika Exhibited at Glasstress (IT) Venice TRE 225 225 cm 82 cm × × TURK

TREIVAS 280

126 × ×

Courtesy David Nolan Gallery, New York Courtesy David Nolan Gallery, (IT) Venice Heat 2013, Light / White White Exhibited at Glasstress (UK) London 2013, London Exhibited at Glasstress (USA) Boca Raton 2017, Boca Raton Exhibited at Glasstress GAVIN This Is Not a Pipe, 2013 16 Courtesy Berengo Studio Courtesy Berengo (IT) Venice 2015, Gotika Exhibited at Glasstress , 2015 Chapel Rag 290 OLGA 292 295 600 cm 50 cm × × 1000 × VANMECHELEN VANMECHELEN VANMECHELEN

diameter (basket) KOEN , 2015 - C.C.P. Paradise Protected cm (height), 102 274 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton KOEN , 2013 Skin - C.C.P. Under My dimensions variable Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 2013, London Exhibited at Glasstress (UK) Collection, London Wallace The KOEN , 2017 Paradise Protected 1200 approx. artist Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress Anthology Glasstress VANMECHELEN VANMECHELEN

KOEN , 2015 Awakener Lifebank / The dimensions variable Vanmechelen Koen Courtesy Studio 2015, Gotika Exhibited at Glasstress (IT) Venice KOEN I 1, 2011 dimensions variable Private artist and Berengo Courtesy the Collection, Venice Beirut 2012, Exhibited at Glasstress Beirut (LB) 25 cm × VANMECHELEN

30 × KOEN Entwined, 2011 20 artist Courtesy the (USA) 2012, New York New York Exhibited at Glasstress 65 cm × VANMECHELEN VANMECHELEN VANMECHELEN

50 cm diameter 110 × × KOEN , 2009 Egg Cord dimensions variable Private artist and Berengo Courtesy the Collection, Venice (IT) 2011, Venice Exhibited at Glasstress Beirut 2012, Exhibited at Glasstress Beirut (LB) KOEN , 2015 Black Medusa 88 Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton KOEN , 2017 Coming World 85 artist Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress 2017 Glasstress LIESHOUT LIESHOUT LIESHOUT

136 cm 92 cm 24 cm × VAN VAN VAN

× × 190 64 38 × × ×

Courtesy the artist and Venice Projects, Venice Projects, artist and Venice Courtesy the Stockholm 2011, Stockholm (SE) Exhibited at Glasstress ATELIER Small, 2011 Excrementorium 33 Courtesy the artist and Venice Projects, Venice Projects, artist and Venice Courtesy the (IT) 2011, Venice Exhibited at Glasstress ATELIER , 2011 Excrementorium 130 Courtesy the artist and Venice Projects, Venice Projects, artist and Venice Courtesy the 2012, Beirut (LB) Beirut Exhibited at Glasstress Crawling Man, 2011 Crawling 30 ATELIER 294 297 RYDINGSVARD

6 cm WILLIAMS

× VON

245 110 cm (big skeleton), 110 cm (big skeleton), 90 cm (small skeleton) × × × PHARRELL Out, 2011 Inside 180 90 Venice Projects, Courtesy Venice (IT) 2011, Venice Exhibited at Glasstress URSULA , 2013 Luminosa 200 York New Lelong, Courtesy Galerie Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 110 cm × WIEDENHOFER

210 × SABINE 2017, 2017 TriBeCa 90 Vienna Kovacek, artist and Galerie Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress Anthology Glasstress 100 cm × VENET

VASCONCELOS

100 290 X 165 cm × × JOANA , 2015 Via Iluminata 420 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice BERNAR Angles, 2014 9 Uneven Disorder: 901 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice RYDINGSVARD

5 cm VON

× 130 × URSULA Glass Corrugated, 2010 76 New York Lelong, artist and Galerie Courtesy the (IT) 2011, Venice Exhibited at Glasstress (USA) 2012, New York New York Exhibited at Glasstress Beirut 2012, Beirut (LB) Exhibited at Glasstress

VASCONCELOS VASCONCELOS

170 cm diameter 104 cm diameter × × , 2013 Babylon 360 JOANA , 2016 Velvet Blue 162 Studio Courtesy Berengo 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton JOANA and Venice Studio Courtesy Berengo Venice Projects, Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White VARALDIEV

180 cm × ANNELIESE detail , 2013 / Self-Portrait 150 Estero Gallery, Castillo Courtesy Aldo (IT) Venice Heat 2013, / White Light White Exhibited at Glasstress Glasstress 2017 Glasstress 45 cm × VANMECHELEN

35 × KOEN , 2005 / detail Accident The 60 Collection, Miami Private Courtesy Moss (IT) Venice 2009, Exhibited at Glasstress 800 cm 58 cm × × 400 VANMECHELEN VANMECHELEN

156 × ×

Courtesy the artist and Berengo Private Collection, Venice Private artist and Berengo Courtesy the (IT) Venice 2009, Exhibited at Glasstress KOEN Unicorn, 2009 200 Courtesy Venice Projects, Venice Projects, Courtesy Venice (IT) 2011, Venice Exhibited at Glasstress Stockholm 2011, Stockholm (SE) Exhibited at Glasstress KOEN Egg, 1989 Walking The 70 296 299 20.3 cm 20.3 19.7 cm 19.7 × × YELLIN YELLIN

40.6 40.3 × × DUSTIN , 2017 Sisyphus Invisible 40.6 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS DUSTIN Machine Time Building A , 2017 in Car Mountain 40.3 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 20.6 cm each 20.6 × YELLIN

40.6 × DUSTIN , 2017 Plexit 38.4 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS Glasstress Anthology Glasstress 140 cm 7 cm × YAGI

× WURM

150 30 × × MARIYO 2015 - Shrine Nawa Isolation Traveling The Snail), 2015 Of Maimai (Spiral 230 artist Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice ERWIN , 2015 Narrow Venezian 140 Studio artist and Berengo Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice 2017, Boca Raton Exhibited at Glasstress (USA) Boca Raton

15 cm YAGI

× 24 × Courtesy the artist Courtesy the (IT) Venice 2015, Gotika Exhibited at Glasstress MARIYO Nawa Anima # 2, 2015 Nawa 40 120 cm × 18 cm WURM WURM ×

1600 23 × × ERWIN Small, Sausage Venetian 2016/2017 62 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS ERWIN House, 2010 Narrow ed. 2 / 3 700 Brussels, Gallery, Hufkens Courtesy Xavier and New York, Maupin Gallery, Lehmann Salzburg Paris, Gallery, Thaddaeus Ropac (IT) 2011, Venice Exhibited at Glasstress 18 cm WURM

× 11 × ERWIN , 2016/2017 Mutter 39 Studio artist and Berengo Courtesy the (IT) , Venice 2017 Exhibited at GLASSTRESS Glasstress 2017 Glasstress 20 cm 14 cm × × WURM

130 WILSON

40 × × 38 cm (big frame), 38 cm (big frame), , 2015 a Cross It’s 75 Studio artist and Berengo Courtesy the 2015, Gotika Exhibited at Glasstress (IT) Venice ERWIN FRED , 2009 Mirror Iago’s 200 New York, Gallery, Pace Courtesy The Collection, Venice Private and Berengo (IT) Venice 2009, Exhibited at Glasstress Riga 2011, Riga (LV) Exhibited at Glasstress 2011, Stockholm Exhibited at Glasstress Stockholm (SE) 2012, Beirut Exhibited at Glasstress Beirut (LB) 2017, Raton Boca Exhibited at Glasstress (USA) Boca Raton × 118 × 3 cm (small frame), 230 3 cm (small frame), × 110 cm diameter (applique) WILSON

55 × ×

Courtesy The Pace Gallery, New York, and Berengo Private Collection, Venice Private and Berengo New York, Gallery, Pace Courtesy The (IT) 2011, Venice Exhibited at Glasstress FRED , 2011 Sala Longhi 70 200 298 301 90 cm × WANG

115 × ZHAN Hu Shi) (Tai Rocks Scholar’s 2, 2013 Combination in Glass, 159 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 600 cm 78 cm × × HUAN HUAN

500 140 × × ZHANG Pig, 2012 47 Venice Projects, Shanghai, and Venice Courtesy Zhang Huan Studio, Beirut 2012, Beirut (LB) Exhibited at Glasstress (IT) Venice 2015, Gotika Exhibited at Glasstress ZHANG , 2011 Old Turtle Thousand Years Ten 160 Venice Projects, Shanghai, and Venice Courtesy Zhang Huan Studio, (IT) 2011, Venice Exhibited at Glasstress Glasstress Anthology Glasstress 90 cm × WANG

115 × ZHAN (Jia Shan Shi) Rocks Scholar’s Combination 1, 2013 in Glass, 159 Studio Courtesy Berengo Light / White Exhibited at Glasstress (IT) Venice Heat 2013, White 40 cm 80 cm YOSHIOKA YOSHIOKA

× × 80 210 × × Courtesy Tokujin Yoshioka inc., Tokyo inc., Yoshioka Courtesy Tokujin (IT) 2011, Venice Exhibited at Glasstress TOKUJIN House, 2011 Tea Glass The 40 Tokyo inc., Yoshioka Courtesy Tokujin (IT) , Venice 2011 Exhibited at Glasstress TOKUJIN Block, 2002 Water 40 28 cm each 28 cm each × × YOSHIDA YOSHIDA

KIMIKO Self-Portrait Tombeau. Barberini’s (after Cardinal , 1646), 2005 Epitaph, Rome 18 elements, 28 Gallery, Courtesy Guy Pieters Sint-Martens-Latem (IT) Venice 2009, Exhibited at Glasstress KIMIKO , 2009 / Blown Glass Symbols detail 28 elements, 28 Private artist and Berengo Courtesy the Collection, Venice Stockholm 2011, Exhibited at Glasstress Stockholm (SE) 40 cm × 70 × 18 cm (bone), 126 × 80 YONG

× SHI , 2011 Teasing Hues Are Moon’s The 14 Shanghai and Shanghart Gallery, Venice, Projects, artist, Venice Courtesy the (IT) , Venice 2011 Exhibited at Glasstress (pants with a pair of hands) (pants with a pair of Glasstress 2017 Glasstress 20.6 cm 20.6 19 cm × × YELLIN YELLIN

40.6 38.4 × XIUZHEN ×

The Container of Thinking, 2015 The dimensions variable Studio Courtesy Berengo 2015, Gotika Exhibited at Glasstress (IT) Venice YIN DUSTIN Tunnel Underground , 2017 Parts for Seven 38.4 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS DUSTIN Left, 2016 Hand of Darkness The 39.4 Studio artist and Berengo Courtesy the (IT) 2017, Venice Exhibited at GLASSTRESS 300 303 Glasstress Anthology Glasstress Glasstress 2017 Glasstress 14 cm each 190 cm × × ZHEN

70 132 DESIGNERS × ×

Courtesy the artists for Saazs, Paris Saazs, artists for Courtesy the (IT) 2011, Venice Exhibited at Glasstress 5.5 à chaud, 2011 Matières 77 Courtesy Galleria Continua, San Gimignano, Beijing, Le Moulins, Havana Beijing, Le San Gimignano, Courtesy Galleria Continua, (IT) Venice 2009, Exhibited at Glasstress Crystal Landscape of Inner Body, 2000 Landscape Crystal 95 CHEN 302 Berengo Studio 1989 Fondamenta Vetrai 109/a 30141 Murano, Venice, Italy

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